HUD Interface Animation in After Effects and Illustrator (1 of 4) | Motion Design A. | Skillshare

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HUD Interface Animation in After Effects and Illustrator (1 of 4)

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

6 Lessons (35m)
    • 1. Welcome!

      1:00
    • 2. 01 - Sketching the Thumbnail

      2:46
    • 3. 02 - Illustrator - building assets - using shapes and brushes

      13:04
    • 4. 03 - Illustrator - building assets - using custom brushes

      4:26
    • 5. 04 - Illustrator - building additional assets

      8:26
    • 6. 05 - Illustrator - building assets and prepping for After Effects

      5:06
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About This Class

This class is made for the motion designer who is looking to learn more about Adobe After Effects and how to apply these skills in a professional setting.  This class is made for all levels, a basic knowledge of the programs will be helpful.

Part 1 - We'll start with a Thumbnail sketch and bring it into Illustrator.  Create our assets and bring them into After Effects.

We'll take our Illustrator file into After Effects and convert the layers to 3D layers and animate them using shape layers.  We'll comp these assets and create the text in After Effects.  We'll apply effects and filters to create the final look.

At the end of the course, you'll have built up a library of assets that you can re-use in addition to creating this animation.

Also, throughout the course I will be supplying my working project files so that you can use them as a downloadable resource.

Meet Your Teacher

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

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

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

See full profile

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Transcripts

1. Welcome!: 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. We'll be making this from scratch with no plug ins. I'll be walking you guys through how to make this step by step, and I'll also be providing my project files as a downloadable resource for you to fall along with or just a have. We're gonna start out sketching a thumbnail real quick, then jump into Illustrator and create some assets. And then we're going to spend most of our time in after effects will be comping and animating. These assets will be building a camera, making three D layers and finally adding some post effects to create this final animation. 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. Hopefully, what you learn in this class and the work flow will be something that you'll catch on to you and take with you outside of this course and into your career. All right, I'll see you in class 2. 01 - Sketching the Thumbnail: Okay, So first things first, um, we're gonna go ahead and start off sketching, you know, doing thumbnails and sketching the idea of what we want to make. And what I'm going to do is I usually do this in my sketchbook. They're really, really rough sketches. If you are more comfortable just drawing on paper. And if you have a scanner, you can scan an interview, a smartphone. You just take a picture of it with your phone and email it to yourself, just as long as you just have it. Um, it's more for you and for your mind to like, I know what you're kind of creating. Um, I'm gonna do it in photo shop. I'm just gonna create a new document. 1920 10 80 square pixels revolutions. Fine. So I'm gonna go in here and, you know, I'm gonna sketch out sort of the plan. Um, with this black these guys on, it doesn't really matter. Kind of sketching it out. And what I want to do is I want toe kind of show, the the three D layers of this kind of creative grid. Drop this a passage down of it that I'm gonna create another layer. Um, and this is gonna be, you know, the ah, circular kind of portions of these maybe gonna have, like, multiple ones. And again, you can see how, like, rough this stuff is. And it's just really, But it's just so that we have an idea. Like what we're creating, it's really rough. Doesn't have to be good. It's just Nobody has to see this. Um, so, you know, I'm just making literally This is like when text is gonna go, um, that's it. I mean, that sort of, you know, we've got a bunch of circles. We've got some ah, cross hairs. Um, we've got, you know, this, these different elements, and we know that we kind of wanted on a off centered on a three D access plane. So I'm gonna go ahead. I must say this. I'm just gonna call it like a thumb. Now, 3. 02 - Illustrator - building assets - using shapes and brushes: Okay, so we're in Adobe Illustrator. Basically, what I did was filed new, um 1920 10 80. These things don't really matter. Um, we're just gonna be bringing these into after effects, and they're just going to be kind of set up as elements, so it doesn't really matter. You know what the height and the width is for this. Ah, will be kind of changing the composition of that all in after effects. Um, the next thing we're gonna do is we're gonna place our image, which I already have placed in here. You do that file place, it's lots of hi. Oh, place. And then you can just bring in your image, and I just like to see what the idea is. And so in this sketch, everything's already kind of tilted in this sort of three d environment, and we're not going to really worry about that in Illustrator. We're gonna do everything flat as if it were not tilted, not on a three d plain. And we're gonna build each of these assets, and we're gonna worry about doing all the three d and camera and everything like that in aftereffects. So you go ahead I'm gonna lock this, turn it off, and then I'm gonna go into Illustrator Preferences, Guides and Grid. And I have this already set, but it's but I'm set. I'm gonna send it to 24 pixels and some division of 12 and pretty much with that is it just kind of allows us to, you know, work Teoh a grid just so that, you know, we're kind of working with a grid, and everything is sort of lining up in matching up. So in order to turn the grid on, I'm going to go into, um, view show grid, or it's also Apple quote, and then that kind of brings up our grid. We're gonna go in a little bit closer. You can kind of see, you know how far in where we are. And then what I'm gonna do is I'm gonna We're gonna be using the Ellipse tal, and you're gonna want to turn off this toggles. This button kind of turns on and off the Phil. We want to turn off the hill, and this just kind of makes it transparent. And this is the stroke. And if you press these, you go back and forth You can also press X to kind of go back and forth and that you can turn off the stroke. You turn it back on and this is just sort of pretty much using the film the stroke. We're only gonna worry about the stroke. You can do that up here as well. You can also sort of change the points we worry about that as we're kind of working on it. Close this and first thing we're gonna do is we're gonna work on the circular parts of it. So monitor this on this layer, and then I'm gonna press shift and, uh, the base, and then I'm gonna press f two kind of And what f does is it kind of lets you take the whole screen. So if you press f again, it takes you can go completely in the in the screen and you press afghan, and it'll kind of bring you back to seeing this. These different windows one of has absolutely kind of maximize this screen. Um, I'm actually doing this at a a really large view, so it's a little bit harder to kind of see, but, um, and then I'm gonna pressed apple are. And that kind of, if you press control are I guess that's on a PC. But it kind of like allows you to toggle your rulers, which is gonna come in handy really soon. So first I'm gonna press shift and then press the Ellipse tool, and then you can kind of see an excellent is gonna kind of, like, line it up to something like that. And what happens if you don't? Press shift is you get this ellipse, and the minute you press shift, you got a perfect circle. So it's good to good toe, have good to know. Um, And what that does is it gives me that circle. I'm gonna actually take this. And now I'm gonna use my rulers to create a guide and how I get that guided them literally , just like dragging it from the rulers, um, dragon and push it down and just make sure that and then drag it from this side. Push it here so that we kind of are kind of working with a guide. Um, the great thing about God's you just can pull it. Then you can drag it here. And if you don't want it there anymore. You can push it back and it goes away. Um, so I'm gonna bump up the stroke, which just the stroke is just the thickness. As you go up, you have more of Ah, you more thickness. And as you go down, you unless somebody create that, that's our first circle to basically What I'm gonna do is I'm gonna lock this, create a new layer. Unlock this. Actually, I'm gonna press command, see or control Siem just copying it. And then I'm gonna lock this layer, and then I'm gonna press command f what command f does, is it? It's paste in place. And if I turn this off, you can see we ever circle. And what I'm gonna do with this is I'm going to go into this tab, which this type, which is the brushes, and you can see here that they have all these different brushes. Well, what I'm gonna do is I'm gonna go in and open our brush library on. What you can get here is you can get you know, these different arrows. And I couldn't open them up and it will show you, you know, all these different types of arrows that they have. I actually don't want to use any of these. Um, open up the standard one. And these kind of show you all these different arrows. I might He's I'm gonna press, go back to her brushes, going here, open brush library. And you wanna do that pattern one? I'm just sort of see, you know, and then basically, like what? What the nice thing is about, You know, this opening this brush library is that when I have a stroke on it, I can just pick any of these patterns and you'll see that it makes the pattern the stroke. So you can get a lot of really cool stuff like something like this just by, you know, opening the ah by using ah, brush and opening up the brush library and going in and and grabbing the pattern. Ara. Um, And then if you change the stroke of it makes it bigger and smaller, and then you can also do with this is I'm gonna make it smaller. And what we're basically just doing here is gonna move is up, is I'm gonna grab this layer, and I'm gonna drag it down. And what that does is it automatically copies this. So I'm gonna turn this off and I'm gonna create another circle on what we're doing, basically, is we're just kind of creating, you know, a library of assets that might become really helpful. And we're just doing it in using this sort of brush library. And so this is another one. These heard Dash is going to go in, drag us down again into the layer plus let go and then grab this. And it's really like, you know, whatever Khanna we can use from this get, you know, the information that we want and some of these don't work some of these work great. But it's really just to see if there's anything in here we can kind of like use. And then I'm gonna go into Arrow Standard. And, um, you know, you some of these arrows make it a little bit smaller. Yeah, you know, I mean, it's sort of like you can really play around a lot with these sort of patterns and create some pretty great stuff. So something like that I'm probably gonna use again. I'm gonna drags into the plus. Take this. Turn this off And then I'm gonna kind of look for mawr brushes, crying out that this these dashed ones try and use this for it up the stroke of it. And this looks great. Like, we can probably use this, um, varying the different thicknesses of it. And basically, like, what illustrator is here for us? It's just here to, you know, through this off, this is another thing we can use. It's just our way of, like, building out all these assets for us to kind of compa news. And, uh, and after a fox, when you go had and make this a little bit bigger and we're just building just a ton of stuff. And I you know, I encourage you guys to just go ahead and make as much of this stuff as you can. It's another one. Drive this down. I wanna work. I've never just gonna go in some more and just see if there's any other sort of, you know, presets that we can use his lines, you know, And a lot of this stuff were just kind of getting from the library in here, and then I'm going to drag us down again. This off grab it. See how this looks through this off. I was looking comparison with this, like, up the stroke of it. Grab this dragon town and this is all, like I don't even know if we're gonna end up using it. It's just that, you know, we're gonna be doing so much of the comping and and, um after fucks Ah, it's just good to go in there with, like, just a great library. And we can change all the colors and ask your folks. This is just just to build it, build out sort of a rough, you know, plan. And we're building a lot of stuff and probably not even gonna use a lot of this. I just wanted I just you know, it's just nice to, like have all this stuff in case. And the more you have and I'll show you that, you know, the more you have still in here, you know, the more the better it is. And this is all just, you know, just exploring the brush 4. 03 - Illustrator - building assets - using custom brushes: So the next thing we can do here is, um we can go ahead and we can make our own brushes. And what I'm going to do that as I'm just going to use shaped tool and we're going really close and kind of build out, like the way that these brushes are are made and you'll see like they have a beginning and an end, but because we're just making circles and squares, we don't really need to worry about that. We just kind of need to worry about this, like this middle area. I'm gonna just use the pencil and and, you know, use this and then change the stroke and then come and see you command F and then all I'm doing after that is I'm just pressing the arrow keys. I'm gonna make this a little bit, you know, like a line it you see the same thing. Command C command up and then shift. Do you press shift in the arrow? It kind of like shifts it a bit of significant amount. If you just crossed the Cherokee, it'll just nudge it. Um, go ahead and line it up to our grid. And then again, commence EU command up. Do the same one here and then that. Then what? I'm gonna do that gravel these guys do this ago. See Granna going really close and how I'm going close and in is on President Command plus and minus. I threw myself in and out and so I've made this. They've got some varying lengths. I think what I want to do that would make the thicker ones still little bit higher up. And I'm just I'm doing is I'm clicking. I'm in this, which is the selection tool. It's V and I'm just by using this, you can kind of get you rotate it. You can scale it up when you get the the arrows pointing up and down, Um, you can skillet up and then the next thing I'm gonna actually do I realize I didn't do this is snap to grid. And what that does is make sure that we're coming on the grid just really important. Okay, so what? I'm gonna do them to grab all this and then I'm going to go back into our brushes and we'll click here and I have been a right new brush, but when I pressed new brush. It kind of gives all these different options to make on our brush for Russian everything. I'm gonna make a pattern brush for us, okay? And then what comes up is is this pattern brush and for what we're doing now, since we're just kind of using circles and squares, this is fine. But you can, you know, create the beginning, the middle on Dow ends beginning. This is the beginning. That end if you kind of want, like, an arrow or something like decorative, and this is sort of the the middle parts of it. So it's fine. I'm impressed. Okay. And what that did was it created, um, a brush. And if you go here all our Russia's air kind of showing up that we've been using and then you see the brush that we created, I'm going to go ahead. I'm gonna delete this layer, then my go here. I'm gonna duplicate the layer that we have, turn it back on and then have a circle and then go down and user part. And what it does is it kind of creates this sort of like you I kind of interface thing. And what's really cool is if you change the stroke, makes it smaller and bigger. Use that. That's pretty good. Drag that copy it. 5. 04 - Illustrator - building additional assets: next thing we're gonna do is we're gonna go ahead and we're going to, you know, create more of the target kind of stuff. Um, if I bring up the sketch, you know more of the stuff that's gonna be going on in here and in here, in here, Simmons from this back off and in return the sky off this guy get a new layer. And I'm just going to use the grid. She makes sure everything I'm making is the lines. And I'm gonna just get this. Ah, my single tool. Um, work with the fill this time, Turn off the stroke. And I'm just gonna, you know, create this shape. Um, it's just like press command. See, Kamanda a lot of it is sort of like toggling back and forth, um, to see I was working. The guy might wanna this a little bit bigger, so I'm gonna grab the selection tool. Just actually, the difference between this is that it was the whole object and this you can just move the points and I just want to grab these points shift, dragged them up just a little bit. So that there a bit higher up Go in really close to make sure it kind of matches up. You know, this. I'm actually gonna about the whole thing. So I'm gonna go into V or selection Tool commencing command f try it up and just kind of like a line this with every other. The grid point Gonna close just to make sure. Yeah, it looks good. And then I'm gonna come and see you Kamanda and just sort of rotate this so that we kind of have our rectangular shape. Kind of lost it there. Um, go back to seeing how it looks at 100%. It's good, you know? And I'm just really like wanting Teoh match this up. A lot of it is It's sort of like, you know, you're going really in Zepce. Zoom in. You going? Really added up. Fuse him out. You want to see how it looks with the overall picture and also like, sure that you get sort of details down of what you're creating. I'm just gonna go ahead and skeleton of it. I want to make sure that this I'm doing here is I'm just kind of creating are the sides that we're making Nancy Kamanda I'm gonna commence, Seek Amanda and then, you know, go back. And Grover Powder, I'm not. And what's cool about this is ah, um, you know, because we used the rectangular key. Um, if we switch the stroke and we use our pattern rush on it, you know, we get some pretty, um, interesting looking stuff, and I'm actually going to use this. And what you can do is as soon as you know, basically what this is, it's a stroke. It's just the outline of that. But if and it's just part of the stroke, But if you want to make these, like, individual tweak herbal elements, what you could do is you can goto objects that you can expand appearance and that allows you, Teoh, you know, tweak this stuff individually. I'm gonna go in stands, spark in. I'm gonna use I like some of this stuff that, you know a lot of this is sort of playing around seeing what looks good and what works. You know, I'm gonna grab this command, see Kamanda drugs back down here, but I'm gonna grab this stuff and go ahead and I'm gonna make another pattern. Russian. It's a new brush How to rush Press. OK, I'm gonna bring this down a little bit. And what were just doing here is we're just building out lots of different assets, so I kind of like the way that looks. And when a group had to grab another circle, I kind of want to see. And a lot of this is experimentation. Um, but I want to see how that brush works with this circle. Go ahead, grab this. Yeah. Use that for part of the circle. Go back to this, then I'm gonna go in, and I'm gonna use this polygon tool. And again, I'm pressing shift and I'm gonna go, and I'm gonna use the patterns that we're creating and just kind of using these those elements that tohave as are part of our border. Um, go ahead, come and see you Kamanda and use a different one back and use, You know, Makesem rectangles. And these are all just like assets that were kind of building. Um just a have place around our circle. It's funny, and I know that this kind of like it's green and it's But once we have in, once we have it in, um after effects will kind of see how it ends up working 6. 05 - Illustrator - building assets and prepping for After Effects: So what I'm gonna do is I'm gonna go ahead and I'm gonna put each of these on a separate layer. The reason why I'm doing that is I just want to make sure that they're all brought in on different layers when they're in aftereffects. Was scaling each of these guys up what it does, is it Pretty much what aftereffects does is it brings each one in as a separate layer. So it's really important how you're going. You want to, um, layer these? You want to just make sure you're kind of organized going on on and then I'm gonna go ahead and I got this and a lot of the stuff we're gonna be doing. We're gonna be doing a lot of comping or no creating these in aftereffects. And we don't want toe overload ourselves of too many assets or to many of the same thing. So even though I've built this, no doubt, um, I'm really just gonna only bring this in. And I can, um, mirror it back in aftereffects with this. I'm also just gonna grab this section cannot see delete. It doesn't really matter right now, because this whole layer is gonna get deleted. Kamanda Then I'm gonna scare this up. It's another layer. But see in this. So when you scale these up, they looking really different. But it's OK because we can change a stroke and we'll come back to what we wanted. I'm also gonna grab this one. Let's see, really? And the bring it stroke up cysts a lot bigger? No, a lot of it is just playing around with these different things. Cool. It was off and then re to go ahead and grab this. I see actually going to go ahead and believe this later. Then I'm gonna bring the stroke up, and this is sort of you know, how we build our assets out. Everything's on a different layer, which is great. And we pretty much got all this stuff just by, you know, using the rectangle tool, creating shapes and then going in and kind of, you know, opening the brush libraries and arrows, um, borders getting different lines. And we even went ahead and created our own little pattern and made a couple of, you know, shapes out of out of that and and we've put each one on a separate layer just so that for organizational purposes, the final thing I'm gonna be doing is I'm gonna go ahead and I'm gonna label all these layers out. I'm just gonna call them like Circle 12 And, um, I'm gonna actually speed up this process just because I know it's there's really no need for you guys to be seeing me labeling this and I'm gonna finish this off and then I'll see you guys in aftereffects.