Making a Logo Reveal | Lazaro Perez | Skillshare

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Making a Logo Reveal

teacher avatar Lazaro Perez, Motion Designer

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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

3 Lessons (38m)
    • 1. Introduction

    • 2. Logo reveal lesson 2

    • 3. Logo reveal lesson 3

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About This Class

In this Adobe After Effects CC class, you will learn to animate a logo reveal.

What is required?

  • After Effects (Full Version or Free Trial)

What will you learn?

  • Create original motion graphics for video
  • Use preset animations and effects on shape layers and text

What is the target audience?

  • Filmmakers, photographers, designers and artists who want to learn motion graphics
  • After Effects Beginners


Meet Your Teacher

Teacher Profile Image

Lazaro Perez

Motion Designer


Lazaro Perez is a freelance motion designer, animator, and illustrator based in St Pete. He finished his studies at the Art Institute of Tampa in 2013.

After 5 years of hard work at 208monkeys and becoming a lead animator, he moved onto freelancing where he has worked with companies like HSN, Kaizen ad, Creadits, and Omnia Media.

He likes to find simple solutions to complex problems. He loves creating unique characters and abstract designs.

See full profile

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1. Introduction: Hello, everyone and welcome to creating in local reveal in after effects. These glasses, mainly for beginners, uses very simple key framing techniques and after fixed tools to create a local review. My name is less of a business, a motion graphics designer, and I'll see you in the first lesson in this aftereffects class. You will learn how to make a local reveal by using some very basic e framing, drink path, animation and special effects. Hope you guys enjoy it, and I'll see you there. 2. Logo reveal lesson 2: today. We're gonna be working on this little thing right here. You know, it includes Ah, you know, a couple of shape layers, some train path animation and a couple of special effects. So, you know, let's just diving, right? I haven't played Horizon zero Dawn yet because I've been too busy blaming this, you know? Then you sell that. But, you know, I still figured Hey, let's Ah, let's make something horizon CEO. Don't relieve it. Right. So anyway, I have these reference image right here, Ana. Scale it up. And with our pen tool, we're gonna go over it. Okay, But first, let's set up a C, got guide layer in the swimming real quick and maybe put his capacity to 50%. Okay. And now with our pen tool, we're gonna go over it one by one, okay? And then we can make this stroke me a little bit thicker. Simple like that, all right? And we can name these age one, and then let's go and click off and we click again to make the other line. Okay? And then we can take to fill off Sweet. All right, let's name these age to all right, And now, for the thorough one, you can go like this. And then if you press Ah, If you haven't ever used the Penta, let's say you're new to the pencil, right? Ah, the shortcut is G. And then with the mouse left, click right, you can start making a path or a shape, right? So And if you press shift and then left click, it will make it straight. So a straight line. So, yeah, all right for the old. Very simple. We go to the shape layer shoes, the ellipse, and then we shift, press on the left click, you drag, and that's gonna make a perfect circle. Okay, so that's OK. As in Oh, my God. I can't believe you haven't played Horizon zero Dawn yet. If you have played it, you know, let me know in the comments. Is it really good? Is the hype riel, But anyway, let's name these straight line here. Let's name it H three. Oh, you know what? We can name it? H 3 83 Like the channel air we go and then we can make this little line here on the O again . We pressed G on a keyboard and again we shift. Press will make a perfect straight line. And now we don't have to press shift for this one and shift again. Both perfect line. So, you know, we're gonna keep going and make the rest of this text here. Hopefully this tutorial, you know, lens on the 20 minute mark. I don't want to make it too long. Okay for these. All right, here. We're gonna do something official. So let's breast shift to make that straight. And then we make another one and another one. Another point on. See how he looks a little bit by edgy, not not edgy, but, like, you know, he looks like a like a cutaway. Very rough. So you can just go over it, right? And then press Ault and left click, And it will suffer in that up and make it more like a curve. OK, so you can do that. And I'm matches that curve a little better. So, uh, you see this little year right here? Ah, you compress left. Click right here. And then you can drag it to make it straighter. Yeah, the cool thing about the pencil is is very versatile. All right, So let's name these are, and then we can go over the I boom. And then for the dot we can just make a box or a square, right? Something like this. And then we can rotate it of 45 degrees and let's bring it over, Sweet. And if you when you're going to scale it down now for shape players, I usually don't like using the actual scale because he can get a little messy, especially if you want a key frame the scale later on. You know you want to clean scale. So what you want to do is you want to go down to content rectangle, rectangle path and then scale this size of it, okay? And that's not gonna effect. Uh, the scale attributes. So if you wanna if you have any key from scales, you won't affect that, you know? So it it's pretty sweet to do that instead, off actually affecting, you know the scale attribute. So, you know, little trick, a little trick for you. All right. So let's do to see something like that, you know, weaken, Grab these two vergis is here and drag them down with shift and most left, click, and then you can name it. Seat, Of course. In this one dot Always name everything. Always, always Alrighty. And then we can do, you know, we can just copy pays D Oh. So control de to duplicate is right here, and then we can bring it over. And there you have it. That's a beautiful. And then we can make this line here, call it lying, and then we can make the end. Sorry about that. All right, we got a piece of the end. Oh, you know what? Let's call it N one. You can just click here and then hit, Enter, and we can change the name. Sweet. Know what else? What else? What else we can do? The other the other part of it And name it end to. Now we go over the your last one boom. We can name that N three Sweet. Now we can name the comp. We can name it, Horizon. All right. And now we can drag this. Come over here on making you come now on that compass. Gonna be the main animation for the main camp, if you will. All right? And it is what we got so far. So if we You know what? Let me close this example. Comp here are You know what? I'll keep it open just in case I need a reminder or something like that. All right. For the zero Dawn, I don't know if we need to make it independent shapes. All right, so we got horizon. You know what? Let's do the the basic animation of it. You know, this is gonna be the root animation for for everything else. Okay, that is gonna be very simple. So we go over your press g to someone your pen tool, right? And then you go over to dream path, and then we can go down here and click on the little clock, and that's gonna make a key frame, Of course. And then we're gonna give it a which, if pace down, it will jump. Exactly. Tim Frames ahead. Right. So we're gonna press chief page down maybe three times, and that's going to give us 30 key frames a 33 frame buffer. Okay. And now we go back to the first key frame, and we're gonna, uh, changed the end to zero. Okay. On what he does is is basically animate the shape path, and it looks like it's forming. Okay. And then, you know, we can go over it and press f nine to soften those key frames on. We can mess with the graph editor if you want to make it a little bit, uh, pop here, I guess. Okay. But again, this is is up to you. However, you want to make that trip path animation. I want to make it a little bit popular than the last time. Like, you know, here is very uniform. So, you know, I just want to shake things up a little bit. All right? So we can just grabbed his key friends here, and we're gonna copy them over. All right, copy them over again and again. All right. It is a sweet thing about computers in general, saving your work. You know, in another world, you would have to do that. You would have to do three path animation. What, like, 20 times? But you know something? A simple US control C control V. Save your time. Now. We have these basic animation here, right? But it's all playing all at once, you know, And we don't want that. That's kind of a boring. So what we're gonna do is we're gonna select all of the press you on a keyboard, and that's gonna bring up all the key frames, right? And when we want to do is go over it and just ah, scrub very slowly. Inches. We'll get what? Um, look at what should animate after what? Basically So you see these line over here? I wanted to animate after the first line goes over it. Okay, so that's we're gonna do. We're gonna drag it over something like that. And now he animates after the line comes over, okay? And that makes a little bit more sense. And it also makes it more interesting to have things overlapping, you know, and not have things move all at once. You know, that makes it boring. So, you know, we have something a little bit like that. And we can also change the key frame off the line again. This is the searchers. My personal choices. You can, uh, switched the key firms around us. You see feet askew, see fit. Okay. And whatever looks better to you, so Okay. I think that's pretty good all right. Maybe they always should be. Maybe one or two key frames behind. So my idea is gonna look a little bit messy. You know, it's not gonna be these uniform key frames. Okay? All right. So for the dot and the I, I wondered that too animate after the eye has bean, uh, or it's almost done something like that. There we go. And then we're going to the same thing for the Z. We won. Oh, you know what is going is going backwards. You see, this line is going backwards into the sea, so maybe one day Z to animate after that line. Oh, there we go. So you grabbed the key frames, and then we can do something like this where the Z the other have the sea animates after the line hits it. Okay? And we can also do something cool with the O here. Uh, actually, you know what? Let's grab all of them. And I hope you have this plug in right here. The motion V two. And we can center all of the pivots, okay? Or that motion anchor, you know, weaken center, all of them. But if you don't, you can do it the old fashioned way. You know, you can click here and then click on the object and then drag it to the center. Okay, But you know this blood and saves me a lot of time again. I'm gonna put the link below. That didn't make the plugging, but he's awesome, is great, and it's very sheep, so I think you should get it, But anyhow, we got this. Oh, here, Let's see. Where is it? Where is it? Okay, right here. So we have these. Oh, and I think a cool thing would be to have it animate from the line instead of over here so we can hit are on the keyboard, and then we're gonna rotate it right? And that way, when he does animate, I was gonna animate from the line. And I think that makes you look a little bit more cohesive, right? A little bit cooler, if you will. So, as the line comes up, so does he owe. Now we go on, that makes you look a little bit more like a symbol, I guess instead of a no. All right. And then we can go over to the end here. And, uh, let's do the the third end. We can drag it over to the point where the first and hits, okay, And that's gonna look like this end is coming for from this one. And then the 2nd 1 just in no man's land, that should is his own island. So weaken, we can do whatever we want with it. So maybe two key frames after all, Right? Something like this. So now we're left with an animation that looks like this. Okay. You know, it's a little more interesting than having it all at once. And ah, maybe I'm gonna change that dot animation for the eye. It looks a little bit choppy. So maybe I'm just gonna do instead of a trim path animation for the gut. You know, these dot right here, we're gonna take those key frames off, right, and which is gonna animate to scale. Okay, so just keep frame to scale, and we're gonna go maybe, Ah, 15 key frames ahead. And, uh, you know, make another key frame and we go back and then hit zero. And there you go. No, it looks like dot You know, something a little bit um, maybe Let's choppy That what we had before. Okay, on again, you can go over to the gravedigger and you can switch toe curves around. That's you will. Okay, there we go. So now we're left with this base animation, okay? And there's gonna be the root of everything. Okay, So, uh, you know, one more thing we can do before we start everything else, um, we can grab everything and then go to our shape, and we're gonna change the color to something like this, you know, like a tiki sort of blue. Okay. All right, Now we have something like this. Now for the zero don. Ah, you know, for the zero. And we're going to do the exact same thing with it for Horizon. OK, we're gonna use the pen tool, and we're gonna go using the image. We're going to go over it. We depend, too. Okay. I'm not gonna waste your time. I'm gonna cut it right here, okay? And then we're gonna keep going after I'm done with zero down. All right, so here we are. We've made the zero dawn with the pentacle on our ah guide image here, so ah, for the TM We're gonna do something a little different. We're gonna use the text tool. Okay? And that's what Control T. Ah, if you're on a Mac is command T and what we're gonna do is gonna press Ault Cyril 1 53 Okay , so all Sierra one Flight three and that's gonna bring up the TM. You know, that's a little, uh oh, short cut. I guess you would call it. And you can do all sorts of things with that with that kind of ah, all shortcut. But anyway, we have the TM made for us pretty quick again. The combination is all 20153 And that's gonna bring the tm. All right, um, let's see here. There we go. And you know what? We can actually color pick the color here, sweet. And now we're gonna make this are, you know, its own Kump. Okay, so it's gonna be zero Dawn. Cool. Now that we have that, we don't really need the image anymore. And this is what we're left with. Okay? And, uh, you know what else we need we need to do? We need to do one more thing. We need to select everything on the whole rice and composition were gonna copy it, and then we're gonna paste it outside, and we're gonna control Chief, see to pre compose it and make it its own thing. And we're gonna call this, uh, skinny. Okay? And now we're gonna do in this skinny composition, we're gonna open it up, gonna select everything and, uh, with the shape tool of dependable. We're gonna go over the stroke here, and we're gonna make it maybe, like a too. Okay, so it should look something like this. Okay. And again, it's gonna animate the same way, so don't worry about it. The animation stays the same. All right, so now that we have this basic thing going on, this basic animation going on, we can you know, the fun can begin, Right? I'll see you guys in the next one. 3. Logo reveal lesson 3: so Ah, let's have these skinny here in the first, uh, the first first layer. And then we can change his color just to know what's what, right? Been a color code. Everything and ah, let's give it a five frame head start to that skinny one. So he starts first, Okay? And then the other one starts. You know what? Maybe you make it 10 10 frames. Okay, So this skinny one starts first, and then the other one follows. All right, another. We have that. We can start duplicating the whole rice and, um, layer, right. And we could start adding the special effects or the effects, I guess. And we can bring this one down and let's bring up our fast blur. Ah, effect. And we can drag it over, and then we can make this one vertical. Okay, something like this. All right. Something like that. And now we can duplicate that. And you know what? Let's call it, uh, blurry. Okay, let's call this one, uh, blurry. Uh, Hori cental, sweet. And then we can switch it to horizontal, maybe blur it. Something like that. And we can duplicate this one more time, but this time is gonna be both horizontal vertical, and we can increase it a little bit, increased the glorious do something like that. All right. And we can also do is reduce the capacity. Okay, 2 50 And now we have is, you know, starting to look a little bit more interesting, right? So something like this. All right, now let's see. What else can we adhere? Oh, we can select you whore ison layer here. Right? And I bring up the curves on their color correction curves. Oh, you know what? My bet. We can actually, right click color correction hue saturation. Right. And bring up the lightness, All right. And we can also bring up the noise. So fractal noise and we're gonna change it two strings and we're gonna change it to change the noise type to block. Okay, so he's gonna look something like that. I will get changed it to add, All right. And I feel like it's gonna look better. There we go. OK, so without the human situation, we get this exact same look that we have here. You see that? That block, he sort of take you looking thing. So we get that same result here, so we're not gonna need the human situation. That's my bad again. You know, I have the same idea here, but he's very hard to remember everything exactly the way I did it, you know? So, anyway, we have this, um, take you looking text, right? But we're not satisfied with that. We want more. We want Well, one that this wavy effect, right? Something like that. So we can do is we can duplicate this horizon. Zero dawn text, warm or time, and we're gonna drag it back. Five more frames, All right, and, ah, drag dis, tex. Maybe eight frames into it. Maybe. Yeah. All right. Now for this one, we can call it maybe glitchy. Okay, maybe you can change the color, and, uh, let's let's get rid of the fractal noise. Okay? Boom is gone. We don't need it. So what we're gonna do is we're gonna bring up the wave. Wait, warp. Okay, bring that over. And now it's gonna look like water. Right? But we're not done right? We're not done with this because it looks crabby. So we're gonna do is we're gonna change the type here to something a little bit more. A little bit cooler. Right. So we're gonna There we go. So we're gonna change it to smooth noise, right? We're gonna bring up the height. There we go. And what else? What else can we do here? All right. Nothing that looks close to what I had here. Yes, something like that. And now for this, though, we wanted to start out Messi. Right, But then get a little bit more shapely as time goes on. So we're gonna key frame this wave height, right key from that. And then you compress you to bring up the key frame. And, uh, maybe we're gonna give it 30 frames, right to get his act together, right? And then we're gonna bring that that value down all the way down to zero. Okay. And again, you can soft in it with f f nine. So he's going to start out very messy, and then it's gonna get cleaner and cleaner as detects appears. Okay. On one more time, we can reduced capacity and change it to add, You know, it's just to ah, sweet things up, you know? So something like that. So it makes it clear than when? When the clear techie text appear, we want to see it, you know, we want to see it forming. So, uh, what we can do to increase that clearness is lower the capacity on this bad boy right here . So maybe 50%. Right? And you know what else we can do? What else can we do here? Maybe for the skinny one. Uh, we could change it at that's not clear enough. Oh, you know what? What we could do, maybe give it a little glow, maybe. Well, here we go. Maybe increase the intensity. And again, I know I'm changing things a little bit from what I had here. Like, it's not exactly the same, but it's the same idea, right? And you also have the project example here. So if you ever wanna dig through what I did the first time around, you can go ahead and, you know, deconstruct it, analyze it however you want. But all right, I think that works a little better, right? It looks like he has bones right beneath it. And then the techie text comes around and wraps. Everything makes it look more clean. Right? All right. Let's play it back just to see what we got. All right? I think that looks pretty good. Let's see, one more time, right? Not bad. And you can use the type of this type of animation in, like, local reveal or, uh, you know, lower thirds, that kind of thing. And again, of course, he doesn't have to look, uh, you know, glory and techie. You can change the type, attacks that type of noise and make it your own right. But the core animation, you can use it for a lot of things. All right, so now we can Now that we have this horizon animation, we can go 20 down, we're going to animate that. All right, But we don't want it to be a blue like this. We wanted to be white, so we can change it to, uh, you know, you saturation, we can light it up, and then we're gonna make it white. I think that's what I did last time. Let's see. No, I was mistaken. What? I did waas I added the fractal noise and instead of you know, remaking everything lovable Lola, what I did which is copy and paste. This fractal noise from the horizon. OK, so he has that lucky cannot take you. Look, so that's we're going to do. We're gonna delete tissue and saturation. And there we go. Now it's two. Roden has the same boxy kind of like I don't even know what to call it. But you know what I mean. It looks a little bit take you, right? So, no, we have that. And one more thing we can do, actually, before we jump to zero down is, uh look up rough edges, you know, effects panel. We can drag it over, and, you know, that's gonna make it look a little bit closer, perhaps to the original logo, Right? Because the original logo, Yeah, it has the, you know, just interesting looking symbols. But it also has as if we assume in, you know, you can see that the edges are not perfect right there. Not solid or not. Solid is the wrong word to use. But do you get what I'm saying is the edges are a little bit more painterly. Maybe. Maybe that's the word. You know. He has, like, holes, and you can see that, right? All right, So what we can do to imitate that. Perhaps, is let's take the image off and, ah, in our box layer here. You know, we can roughen the edges like we did we like. We just did. And we could also make you know, if you wanna get detailed with it, you can make a new one. Call it rough, right? And we can't actually changed these fractal noise. Okay, change it around. So we're gonna reset it, change the contrast all the way out. Okay. Stick to brightness at zero. Changed a contrast and change the evolution. Let's see here. Okay. There we go. Change scale, Something like that. All right. And what we're gonna do is we're gonna select maybe a loom a key, right? Lou McKee, Dragon over and get rid of the darker key out darker. Okay? And that's gonna make the little holes that you see in the text, okay? And again, we don't want anything like Major. So maybe 10 he's gonna do the trick. And of course, we're gonna feather it, you know, to something that blow. Okay, But you know what? Let's that's feel of us too much. Maybe five. All right? And we're gonna do is we're gonna change or original horizon layer to Alfa Matt. All right? And I don't know if you can see the holes very well. I mean, there, there, you know. But again, they have, ah, lot off layers underneath it. So you're not really going to see it that much? But again is not about it. Being noticeable is about the whole Okay, let me explain. Let me explain the concept off the whole, the whole is when you look at something as a whole, right? You don't You may not see the details of what makes it look like that. Okay, You may not analyze the details, but there, there. Okay. It's like when you look at a painting or a video game or something like that, right? You just look at the whole right. But there are details there that makes it look like what it iss. Of course, So is the same idea. You know, these holes may not be to a noticeable, but as a whole. Okay, It looks go. I feel like I Maybe I I pronounced the two words whole and hold the same. But you know what I mean, right I mean, two different things. Anyway, let's be done with that. That long tangent and we can animate zeroed on just to be overweight, right? Because I see where the 20 minute marker Maybe a little bit more so we can animate sewer done. All right, so we can bring up the fast bowler one more time, all right? And we can maybe bring it in, like, somewhere in here. Okay, So we can drag it over and, uh, key out the blurriness key it in and give it maybe a 15 frame buffer. Okay, so we're gonna keep again, and we're gonna go back. And I say these in every video, but to tuggle along the key frames, you can use J and K. OK, so K goes forward and Jay goes backwards, and it's gonna be very simple. I say it in every video just because, you know, there might be somebody new to my videos, so eyes very useful. So anyway, we go back here to the first key frame, and we increase the blurriness all the way out. All right. It's always gonna come in. One more thing we can add is ah, adjustment layer all right. And we're gonna create a light sweet. That's we're gonna do. We're gonna give it a 90 degrees. All right? Increased the intensity. The ST intensity Onda we I don't know why not As visible, what else can we do here? All right, something like that. And again, weaken key out key that with Right. So as the sea road on appears, the intensity and do with are gonna increase right to make it look like lightly sweeping through it. So keep it in. And then for the beginning, we can sort of, you know, decrees that a little bit something like that, right? So it starts up like this one, right? And then he can go down gradually. So maybe, like, 10 key frames, we're gonna bring it back to the way it waas and then soft in all that up with f nine. Something like that, right? We could even bring a lens flare if you want. I don't think I did that for this one. Specifically. You know what I did? So I believe I also had a couple of ah fast bowlers in there. So you know, let's do that as well so we can duplicate that Syria don and, uh, you know, get the fast blur in there and take out the fractal noise. All right, Something like that. And, uh, we could duplicate it again. And sweets that fast blur or, you know, horizontal amid vertical. Uh, no, that's too much. Unless we decrease the opacity. Yeah, there we go. So if we decrease the capacity to feel like it looks a little bit better now we go. So that's what we got so far. And I think that's, you know, pretty close to what I had in the beginning. This plate displayed the example one more time. Yeah, that's pretty close to what I had. And again, I have the rough edges in this one. I don't have it in this one, so just do that again. This bring up the rough edges, attribute or effect, drag it over, and, you know, we can reduce it to maybe four reduced the border 24 and he's gonna look like this. All right. I think we made it. Think we made it to the end of the video. We have something relatively close to the example, if not better. And, uh, you know, I hope you look, guys liked it. Uh, you know, drop elect under If you liked it, share it with your friends lleva coming down there. You know, let me know how I'm doing and ah, a new thing would be to follow me on Facebook Twitter, instagram Follow me on social media, you know, just to keep up with what the channel is doing, and I'll see you guys next one.