HUD Interface Animation in After Effects and Illustrator (2 of 4) | Motion Design A. | Skillshare

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HUD Interface Animation in After Effects and Illustrator (2 of 4)

teacher avatar Motion Design A.

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

5 Lessons (37m)
    • 1. Introduction

    • 2. 06 - After Effects - Importing, Camera, and BG Grid

    • 3. 07 - After Effects - Creating look of the first circle

    • 4. 08 - After Effects - laying out the circles

    • 5. 09 - After Effects - laying out the other elements

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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.

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

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1. Introduction: Hello. My name is Evelyn Lee. I'm a motion designer living in Los Angeles, and I've been working in the industry for over 10 years and features commercials and broadcast, and I'm here to impart some knowledge and experiences that I've had working in the industry today. We're gonna be making this Animation will 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. Well, I'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. 06 - After Effects - Importing, Camera, and BG Grid: All right, So now, in order, bring in the are illustrated file. I'm gonna You go into file and poor and you can double click this window. So when you try to import, it's gonna come up with this window and you can import it as a you can choose how you want to import it. Footage brings everything in as one layer composition brings him in. How you set it up an illustrator. So we're gonna want to pick composition, and then you can choose how we want. How we want the sizing to be according to the later size is basically just according to each asset we've made. And document size is just the whole document, which would be 1920 by 10. 80. We're gonna go with layer size. Impressive. Good. So it's brought it Brought in our asset layers on these air, our individual ai layers, and then it's brought in Ah, comp. First thing I want to do is I'm gonna check my I'm gonna create a new composition. And, um, I'm gonna call this mean, this is gonna be like our main comp, and it's 1920 10 85 seconds. Um, 23 9761 to make sure that all of our frame rates for all of our coms matchless impress. Okay. And this creates our main thing. A really great tip that I learned that I was working was that if you press this, it gives you the you know, the option of making these all different colors and what's great, is it or it's stacks them according to how this is set up. So I made it, Read it immediately jumped that to the top. Um, I'm gonna create another folder, and I'm gonna call AI. And then I'm gonna put our asset layers into a I and these air just illustrator. And then I'm gonna create another calm another folder and call it clumps. Then I'm gonna put our asset calm and so here and this is just so that we have everything organized correctly and we're not like, you know, scrambling. And the next thing I'm gonna do is I'm gonna create a new camera and this camera, um, I'm just going to keep it at its default setting. You can change all these around, and if you know your cameras really well, um, you can kind of create Ah, camera toe. Customize it according to your settings. I'm gonna keep this the way it is. I've have enabled depth of field, Um and that allows that kind of control sort of the apple tree and the f stop and it creates You can kind of play around a lot with Thea The focus, which I think is a really big thing with these kind of interface elements remembers. Okay, it's OK. And the next thing I'm gonna do is I'm gonna fitness and I'm gonna create a solid so you can go composition or layer you solid or impress Apple. Why? And, um, it was all it's good. I'm actually going to make this ah, lot bigger because this is our background. But since we have a three d layer, I'm just gonna, um, make it a much bigger size make. I'm gonna make it to 556 by 14. 40. It's OK. And so if we go into two views um, this one, you can change them around. Um, this shows you that the camera is at the top u and we wanted to be the active camera and then this one I usually just like to pick one of the custom views. I'm gonna go custom be one so that it just allows me to see I like to see in a Z space. And then if you go to toggle switch moods, you can make this a three d layer and we can kind of see exactly you know how this is showing up, how it's looking at the camera, and it's it's a little bit bigger. And that's exactly what we want. And we're gonna do here is we're going to create a grid. And so in the effects panel, you go into generate grid, and this is allowed us to create a grid. And I'm gonna turn this back to one view just because and bring it back to her active camera. And it's created Ah, um grid. And we don't I'm gonna actually go into our composition settings instead of making this way . I'm gonna get black so you can actually just see what it's done. And it's created a grid. It's it's on an Alfa, Um, and you can tell by if you press this, you see the transparency and it's brought it in. You can kind of choose how you want it. How you want the sizing to happen, where you want the corners. I'm actually going to do this according to the, um, should we leave it at quarter point? I'm gonna put the border down to, like, No, no. Like to, um and I'm gonna actually do ist according to what slider. And with the whip, when you do it with the West's later than you can kind of skillet. Bigger, smaller. And I just felt like it was a little too big, Sumana. And you can change the color of the grid. You could make it like red. I'm gonna keep it as white. Um, and then you can, you know, knock the capacity down a little bit, so you barely see it. I'm actually believe that up, and then you can kind of do these other things. You can add it. Um well, supply and screen it, then keep it on. Uh, none. I'm gonna create another solid and just leave that as our black solid and call this and what you can do is if you press enter, you can kind of grab that and and just to keep it, label grid and the next thing you could do is you could also duplicate it, which is what I want to do. Create another grid. I make this, you know, even war detailed, actually want to make it smaller and drop the opacity down a lot, so you barely see it, but it's just faintly there. Make it like, really like you can't tell. But it's these little details that you know, help. And then I'm gonna make this blending mode ad, and I'm actually gonna do the same to this. It's really subtle, but it makes ah, it makes a difference when when you're, um, working with when you're adding the different layers and different transparencies and stuff like that. 3. 07 - After Effects - Creating look of the first circle: So I'm gonna go back to our two views now that we kind of have this and make this a little bit smaller And what, This I'm gonna go. We're gonna go into custom view on this, Hopefully is his actors can agree, Okay. And we're gonna, you know, if you look in our original and I believe it should be interesting, but in in our original ah, sketch, you know, we have this at an angle, kind of like tilt it down. So we're gonna get that with our camera. And what I'm gonna do is I'm repressed the Seiki, and you can again you can toggle through it, zoom, rotate, and I'm just gonna rotate it, and I'm gonna push it up. You can see that if you shift and routine, and it kind of lets you keep it in in ah, a line than if you don't. It kind of gets moves it around like this is gonna shift, press it up so that we kind of like looking at it a different angle. And you can also achieve this if you toggle this down. Um, using the rotation. Okay. I'm gonna shift and then move this up like so And that kind of has given us are green at an angle that we wanted that would have been do now is I'm gonna go into our asset layers I'm just going to grab, you know, different circles that we have Just drop it on top, make it a three d layer And what I'm gonna do is see, we didn't really pay attention to the color when you can change the color by ah, and this is this effects and presets you can find the right here Apple five. What's great about this is I know I want to tent it so I can just look up tint and it tells you where it is. It's in color, correction intense. Um, and I'm going to make this blue actually in a And now that we have our camera kind of set up, I'm gonna actually go back, click on this, go back to one of you and go to our active camera. And so we kind of and kind of see this a lot better. So we've made our circle blue. And what's great about the fact that we're doing this with Illustrator is that if you press this, it will continually rast arise it. Which means that it will always stay really sharp. And if you take this off, you can kind of see it gets a little bit blurry. Although I don't really see much of a difference, but just always kind of keeping that on. And we can play around with the composition that we're looking for. Next effect I'm gonna add is gonna be a glow. You can just look it up here and you can find it just tells you like this is one of my You know exactly what you're looking for. You can just search it in here or you can go into here and like, you know, it says it's in stylized. Probably. I'm gonna grab the glow so I will click it and, um and the thing with the glow is that, you know, this is sort of the threshold. I'm gonna bring this all the way down, and I want to make the radius a lot higher. Do you really can feel that thing like is glowing? And then what I'm gonna do is I'm gonna duplicate it and turn this a passage he down like to like 35 and Skilling up just a little bit. Not too much. 1 50 I guess. Then I'm gonna out of blur to it. You've got lots of different blurs. You can kind of choose from Gazi in is, um Fosler renders fast, cosy and renders a little bit slower going to go, Gazans, cause it's ah, it's a nice player. I'm just gonna blur this a bit. I'm actually gonna leave the skeletal hunger, you know that. Or match it, Teoh 1 44 or I'm gonna make these scales. So there's a three D layers. And so what we can do is you know, we know that camera. We're gonna move it in Z space and you know why? Moves it up, expose it. Ah, left and right. And Z moves it in. See space. So I'm just gonna move this up in Z space and push it up a little bit. And so what it's done is it's kind of separated. Ah, these two layers 4. 08 - After Effects - laying out the circles: The next thing I'm gonna do is I'm gonna go ahead and go back to her project, the Jews. I'm gonna grab our next circle. And what's really cool is you can just apple delis just do preclude. And then you can swap this in some of the press apple all question work. And what that's done is it's pretty much swapped out our circle so that we have our illustrator file taking on all the effects, the position, you know, everything of this Circle one and it's just replaced it. And so what to do with this? I'm just gonna alter the skill. And I'm gonna put this at Lake 1 10 and I'm also going to go ahead and duplicate the bottom one because we had a Gaussian blur on it and the capacity was down a little bit in a minute to swap that and skillet to one ton so you can see what we're doing here is we're pretty much kind of laying out our designs with this, and I'm gonna go ahead and, you know, duplicate this circle to again and bring in Circle Three and again. Command option question mark and it's brought in our next, you know, Asset Circle three. And then we're gonna just affect the scale. When we make this like 1 25 and then I'm gonna go into here Apple D is again Apple all question mark, which is swapping these up. And then I'm just gonna affect the scale again. Make it 1 20 soas. Faras like organization goes like I really like to kind of, like, you know, keep um I talked a little bit about how colors work in this area, but then you can also do the same thing here. And what I really like to do is I like Teoh kind of select these because I know these are more of the bottom ones, and I'm just gonna change it toe like in blue. And I'm doing this because I just want to know that this is the foreground and this is the background. And it's just a really good way to, like, organize yourself, City. You're not like going crazy later in, and so I'm gonna do the same thing again. I'm a duplicate number. Circle three. Scale it. And I'm gonna make this 1 35 and I'm gonna bring in four command option. Question Mark and it's brought, you know, these arrows in now we have the arrows and, like, you know what? I don't think it really worked. It was an asset that we thought that I thought looked pretty cool when we were making it. But it just, you know, and I don't like the way it's working within here. So, you know, and this is part of the artistic process is you're gonna make a lot of elements. You're gonna make a lot of assets, and some of them will work, and some of them will. You just got a kind of be willing to like part with, um So I'm looking at this and like, yeah, that's not really working. So gonna go into circle five and see how this one works. And it's a very like, free flowing process. Um, when you're working in this manner and a lot of it is because so much of this is like, it's more of like a compositing part of it, as opposed to you. Like, you know, we didn't start with a like a style for him and photo shop and then bringing into after fix , we kind of decided Teoh organically kind of create these things, and it was just a different type of workflow. But with Circle five, I don't even know what it's doing. So what I'm gonna do is I'm impressed. This solos and it lets me see Oh, this is like what it looks like. And you know what? It looks kind of a lot like what we've got already going on. So I want to see what Circle six looks like. End of an apartment, Circle five And then again, command option question work. So I like how that one looks, and I'm gonna go ahead and, you know, duplicates Circle three and then papel de and then command option Question mark and skill at 1 35 And again, I'm gonna command D and see what circles 67 looks like using the same hot keys again. And so actually, like liking circle seven way more than one of go. But as you're doing this, you know, it's sort of one of these things were like, It's such an organic process that makes me think like maybe I want to like no, make this 1 30 That is always just you're always like changing and, you know, seeing how how, how to make how to alter it, how to make it better. And you want to always remember that you got to do this to here is well, so that's 1 30 And then I'm also gonna duplicate it of Circle seven. I was in there saying hot keys, which swapping it out and go to scale on 35. Oops, 35 sensor Do the same thing, duplicating it, swapping it out. That is getting like the more you kind of put stuff on it like the the more it's it's ah, get a little bogged down and something like this is kind of like, you know, it looks pretty pretty interesting. Um, you can actually see what happens if I make this like 1 45 We're outside like 1 50 You know , we're just being like, really playful with what we're getting. And this is all about like, what you like. You know, as far as like, for me, I'm just kind of like free flowing and seeing how how I actually, you know, I'm just kind of trying different things out with these elements and seeing how they work. But I'm actually dropping the capacity of this because it's sort of think, really dominant. So, yeah, this kind of is like, you're kind of like how that's going with that. Um, I actually might want to experiment with this being more on the ground on a different plane because it is so big and its dominant. And it seems like it would be, like, better, more closer to the ground, as opposed to like in the four roomed. So I kind of like that the way that is. And, um and now we're gonna you know, it was this scene. Yeah, we really built a lot of these, um, and luckily, we counted them really quickly. Um, and a lot of them were not even really going Teoh We may or may not use, so I'm just turning it, you know, on and off, and kinda just really experimenting with, um, how it should look. Um, we're going one more time. I will, De and this is really the process of, you know, making building this kind of thing out. But a lot of it is just It's kind of like searching for and some of the stuff like, I don't even like trying to remember what it is we exactly built. Um, I realize that I want to go and do. Did you get that boat Circle nine and, yeah, we've got this going on, and I kind of like where it is, like what it's doing to it, seeing like the combination of this. So I'm gonna keep that in there, and, um, I'm gonna go ahead and I'm gonna go in, make sure that we have doing it on the on the ground floor and going in again, duplicating it and really like, you know, some of these, like I want to keep in some of these, We're gonna continue Teoh, alter it and play around, um, in getting something that, like, make a lot of this is so much of an experiment. Um, and I'm looking at this, and I'm almost, like gonna turn this offer now. I kind of want to see what this looks like with, um, that Circle eight. She was like this. I'm gonna go ahead and duplicated and then put it in. And as we're doing all this like, it's, you know, you were kind of like the layers and the effects. They're kind of started a Teoh slow down our you know, our process of it. But it's sort of heart of the, uh, the process. I can kind of move this into 1/2 resolution, which I might do you really soon. Um, again, I'm just duplicating it and seeing you know what really, like works and like, this stuff, Teoh. I mean, so much of this stuff is so usable. Um, but again, I might actually put this in the background, um, and see how it works. And I remember Circle eight was our big one. So there and duplicate it, and then I'm gonna go ahead and nominally dropped out of capacity down like so that is barely noticeable. And these were kind of like the details of it that, you know, it kind of I just really like they're just subtle. These subtle details were there, and now that I'm looking at it, I'm gonna put this back up 35 I'm gonna scale it down really small. And now that I'm looking at it, I kind of like the Adam. I don't think this is going to really work going to go back here. Gonna go in and grab a serval 13 See how that one goes, and I'm gonna cut a not use that. And I actually think as far as like, the amount of circles that we have, I think we're pretty good. Um, so we have some other assets that we built these elements on some of these squares, So I'm gonna go ahead of a savings. I'm gonna call this interface, and then we're gonna go ahead and we're gonna bring in some of those squares. 5. 09 - After Effects - laying out the other elements: Okay, so before I bring in the squares, I want toe again. I like toe work. Um, how I like to work as I like to make sure everything's sort of color coordinated. And because this is because we already have, like, a lot of, like, different layers and an already, like, not go crazy when you're doing so many layers. Um, like, I just like to make sure that I know that my circle is like purple and blue. And then when I bring in my squares there, they're all a different color. And it's just so that you just don't go crazy while making this stuff. And I'm gonna change this color toe orange and then swap it so that we have all our information. And then you can kind of see that how the square is. It's in there. But what I'm gonna do is I'm gonna actually move our camera, and I'm gonna press the Seiki unless you rotate and this lets you move and zoom out someone in, zoom out a lot of it. No, no, no. Move it a little bit. And this kind of lets you moving around. This is to zoom it since you rotate it and you can cost C like I might need to remake this grid. Um, because it's two small, um, in the square. I'm gonna if you press b, you get that selection tool where you get to move it, and I'm actually going Teoh, I want this to be on the ground, so duplicate this command option question mark by moving it connects. And as I'm looking at this, I'm just sort of like thinking that and that was circle eight like it's just way too prominent. So I'm gonna drop this down. I like to 10. We barely see it, but we know it's there. Rub those two like 25 skillet a little bit, and it's always like you're just looking and searching for, like, you know, the right proposition in each element is ah is gonna change that. So that works for me. Um, your head changes square Teoh, I think. And is it up? I'm actually gonna make it fusion brown or no fuchsia, actually. Really? All right. Um, I'm gonna shift, select these guys and press V and period and comma let you zoom in and out. I just want to see, Get these, be able to drag this kind of over. And another thing you can kind of you, which is probably something that I will be doing really soon. But you can Perret these guys and then just skeleton. - It's nothing. I'm like, kind of doing this in, like, you know what? I kind of like the way that this stuff looks that we made originally. And I'm gonna just take a look at how square three looks. Yeah, I kind of like as I'm looking at him, I feel like, you know, it just looks too much like a square was opposed to these guys, which look like I just way more interesting. So minute, swap that over to that and then duplicate, thes like, leave it down, bring it over to the side. And then I'm going to duplicate this again and test out you know any of her elements and see how they're working. And I think these when I was making use us to bto be really interesting. If they're really small, you just just around even, like smaller. You could make them like 10 you served. Build out a couple of these moving around and thinking of bringing them up a bit more and see space just like, you know, trying different things with, um ah, seeing how this works. And this was also I'm just trying to see how I could get this toe work. Okay, so these air sort of the elements that, you know, it seems to be working pretty well. And now I'm gonna go ahead and grab our square. And this is why it's so nice to have things labelled and you're able to see, like exactly you know what you're doing, the more complicated your stuff gets.