Animated Lettering in After Effects: Bring Type to Life with Motion

1. 1 Class Introduction: Ready to bring your words to life with motion. Welcome to Animated lecture in after effects. Bring type to life with motion. Another exciting class in my Skillshare after effect series. Hi, I'm Hull, and I'll be guiding you through this creative journey. In this class, we'll explore how to create turning lecturing animations inside A to be after effects, turning simple text and letter forms into expressive motion pieces that feel stylish, polished, and full of energy. We'll start with a simple lecture animation technique where you learn how to build clean animated lettering in a beginner friendly way. Then we'll move into a more complex technique where we'll create richer and more dynamic lettering movement. After that, we'll take boot animations even further by adding more style, detail, and what I like to call z, those extra creative touches that make your admission feel more professional, more exciting and more visually appealing. Finally, we bring everything together in a full class project where you will create an advanced dynamic lettering mission step by step. You will build the first part, add details, create the second part, and finish the entire admission with a more polished look. Class is part of a larger after effects learning series, designed to help you grow from understanding the basics to creating more professional motion graphics and visual effects. So every class you take adds another important skill to your creative toolbox. By the end of this class, you'll have a stronger understanding of how Lectn animation works, how to make text feel alive, and how to create animations that are not just functional but visually exciting. So open up after effect, get your creative energy ready, and let's start bringing type to life with motion. 2. 2 Class Project: This class has one main class project and it's a fun one. For your class project, you create an advanced dynamic lection and mission using the techniques we cover throughout the class. This project is covered from video seven to video ten, and we'll build it step by step so you can follow along clearly and confidently. In Video seven, we'll create the first part of the lection and mission, setting up the foundation of the motion and building the main structure. In Video eight, we will add more details to the first part, improving the visual style and making the mission feel more intentional and polished. Then in Video nine, we'll create the second part of the admission, adding more movement and helping the full piece feel more complete and dynamic. Finally, in Video ten, we'll add the finishing details, refine the admission and bring everything together in a clean, final result. As you work on your project, don't just copy every step blindly. Pay attention to the timing, the movements, the details, and the little creative decisions that make the admission feel alive. You can follow the exact project where you can customize the colors, wording, style, and motion to make it feel more personal. Once you're done, explot your final animation and upload it to the project section. I'd love to see what you create, and sharing your work is also a great way to track your growth and get feedback. So let's jump in. Build the project together and create a lateral animation you can be proud of. 3. 3 Lettering Animation – Simple Technique: Here, the welcome back in this lecture, we're going to start learning about lettering animion. Okay, so we're going to start from simple to complex. In this video, we're going to learn how to create a very simple type of lettering animion. Okay, so I'll just going into my folder now on lettering admission and bring in the AI simple AI file that's Blows free of file. So select it. That's this particular one, which is titled AI simple. And then come to Import us and select composition retain layer sizes, and hit Import. Now we have a new composition with this file. I click here, we're going to go into the file. We can see that this is just an Adbiustrto file with A and E, letter A and E, and we have layers here that make up the parts of this A and E. I'll just go into my Adblstrito so here am I in AdobloStrito, and this is where we created the file. And if I just select this guy and move it to the left hand side, you're going to see that this is a different part. This is a different part. This is a different part, okay? This is a different part. This is a different part, and this is a different part, and this is a different part. So these are different parts of the letters, okay? And we can see that under the layers panel, we have all of them in different layers. Since we don't have a layer for this one, so delete this one. Yeah, so we have different layers for each of them, this guy is A one, we have this guy, which is a two and A three, and then all of these are under E. So this is how you want to create your text. Okay? Now, the little limitation of this type of method of this technique is that it's a bit limited to the kind of font styles you can use, okay? So if you're creating, say, very complex font styles, like, for example, this one, for example, say, you want to create this font style, okay? You want to admit this latrine, it's going to be difficult to use this type of technique because for this type of technique, you have to have them in lines. Okay? This is basically a line with stroke. So you see this is 69% stroke. Let's make this one. So you see. So this is basically a line, okay? And it's going to be hard to have these in lines. So that's the limitation of this technique. But we're going to look at this technique any ways, okay? So I'll go back to after effects right here, what you want to do is, first of all, select all your layers. So select the first one whole on shift and select the last one, then click on them, and then go to create and create ships from Vctorers. So create ships from Vctorers and now we have ships from our Vctorers. I'm just going to click one of them and hold and drag to the top of my layers tag so as to have all of them on top of our layers tack. Okay? So now these ones can be deleted. We can delete this one so we can hide them, whatever we want to do with them. In gas, I'm just going to delete them, and now we have the parts of our text created as outlines. So we can change their color. We can do everything we can do with a normal outline here in after effect. Okay? Now, the next thing I'll do is select the ones we're not working on yet, that's the letter E and just shy them and enable the shy here so that we can work on Litter A alone. Now, just select all of these parts of Litter A and open them. And then come here and add the trim parts. So add the trim parts, and I'll just hit the tiller key to make this bigger. I'll go ahead and add the trim part to this as well, and this one as well, trim part. Okay? Now, under my trim parts, I'll just open all of them we have the start and the end. Now we want to just come to say half a second. That's 12 frames, and then create a keyframe for end, create a keyframe for end, and then go to zero, zero frames and make this zero. Make the zero and make the zero. Okay, now, if I hit my tile keybg and come 0-1 and I play this, you're going to see that our text is animating. Our letter is animating, okay? So it's animating. And I think for this guy, we should just do something that for this guy here, we should just offset I like this so that it begins animating after this first guy completes it animation. So we're going to have this instead. Yeah. That's what we want to have for them. I'll just hit my Tier keybo and I'll select all my key frames right click and easy or you can use the F nine command and then go to my graph editor, explain my graph editor, and I'll just select my keyframes and do this and create this curve. Hit back my tier key and let's play and see what we've got. Yeah, so this is very cool and very simple. Yeah, so we're done with our litter A. We can close this. We can enable Shi for them and turn off the shy from here, select our letters E, and disable the shy and turn it back on to hide the letters A. Okay? We just close this and do the same thing I did for the parts of our letter A. So just expand this, open them up, add my trim parts. Yeah, and I'll just go to my top frames or half a second and open the parts, the options for my trim part one more time, and create a keyframe for end. And then come to zero second and make this zero. Then select everything here. Easy ease them. Go to the graph editor, select the key frames and make them look like this. Okay? Now, hit back my Tiller key and play this to see what we've got. Yeah, so this is what we've got here. Incredible. Now, just close my graph editor and try to make this look better. So I want this to admit first. That's this part of my letter E. Okay? This is the first part I want to admit first, all I would do is just offset the remaining parts, select the remaining parts and offset them. So that we have our first admission first, and then we then have the remaining you get. Then for this one, I actually want to admit the starts for this guy here, this guy right here. Okay? We can see that it's admitting from right to left. So we want to admit from left to right. So all I would do is just come here and then delete my Q frame here, create a keyframe for start instead, come here. Let me make this 100 so that we have it come like this. Select everything easy into my gravity to select them. Yeah, so we've got this. And if we want, we could offset them even further. S, we could offset different parts to appear at different times. Yeah, so this is not bad. I like this. So the next thing I'll do is create a new composition, 1920 by ten ATP. You name this two main composition, and I'll just enable my color for my layer, for my composition, and then bring in my AE simple into my composition. And this is what we've got So AE, which stands for, of course, after effect. So this is cool. Now from here on, we can go on to do different things to our layers, to our work. Now, for example, we can select this guy, come to the effect and preset panel, and type in fill, right away, we can fill it with a color that we want with our desired color. So let's see fill it with this color. You can do Control D, Okay, not the field color. We want to select the layer back and then Control D, and maybe just offset this a bit. And for this guy, we want to give you a darker color, darker color, maybe discolor. Okay? Maybe make this even brighter, so that we've got this. Incredible. So let's select this guy Control D. Now select the two of them on top and just offset them just a bit, select this guy and make the color even brighter so that we get this incredible. Yeah, so this is basically it for our simple text animation or sorry, letrin animation. And yeah, this will come to the end of our lecture. See you in the next one. Bye bye. 4. 4 Lettering Animation – Complex Technique: Hey, there, welcome back. So in the last lecture, we learned how to create this type of lecturing, the simple technique. Okay? Now in this one, we're going to learn how to create the complex type of fonts. Okay? That's the complex techniques. Now, this one is limited because the type of fonts that can be used are limited, right? The fonts have to look kind of like this, okay, or kind of similar to this. So you have to be able to create the fonts using lines, because these are lines with animitd. So in this other technique in this new technique, we don't need to create our text in lines. It can work for any type or font. So go into your folder and bring in the AE complex AI file that Adobe los it of file to select it and go to import us and go to composition retain layer sizes, and import. Now we have our EE complex composition. And if I just enable transparency, we can see this is a really complex font, okay, with lots of curves, and this cannot be created using lines. Okay? It's going to be really difficult to recreate this using lines, except if we use some kind of techniques in Illustrator, but that can still be replicated in After Effects because we don't have that tool in particular, the tool I'm thinking of using you get. So the best way is to use it as it is. Okay? And we can do that using this complex technique, which I'm going to teach you in this lecture. Now, if I go to my Illustrator, we can see that this is our file, right? And these are our layers. We can separate these parts just like this, okay? So you want to have them in different layers, okay? And I really hope you guys can use Adobe Illustrito because I'm not going to go over how to create this in Adobe. You have to be able to use Adobe or you can take my course on Adobe which can teach you all of these. So now we're going to start by hiding the parts of letter E. So we want to hide them, we just shi them and enable the shy here. And now for these guys, we select all of them, and we want to add an effect, which is called stroke to add the stroke effect to them. So add a stroke effect. Yeah, and now if I add the stroke effect, I'm just going to hide these two, and let's start with this one. So what we want is we want to have our lines come from here to here, okay? Now, the first thing we're going to do is select our line path and then come to our pent. You can hit G for that. Now we want to create a path from our start to our end, okay, from where we want or animation to start to where we want or animation to end. So I'm just going to start like this. Create one here. Create another one here, and I want to just maintain the position of a line here to the middle, okay? Yeah, so you can see that it seems we need one more point here. So I'm going to add one more point and position this properly. And even further position this other point properly. Okay. Incredible. Yeah, so we want to have our lines going through the middle of our ship, just like this. Okay? Just like this. Through the middle of our ship. Yeah, so we're done with this one. Now let's enable the other parts of E. Enable the A two and then select the guy. Now let's do the same thing for this one. So we want our admission to come from maybe here to here. So here like this. Yeah, so we want it to come from here to here. So we want A like this, you get. So I'm just going to select it that's A two and start creating my lines from here to here. So I can come to my selection tool in order to have the points selected. And sometimes that doesn't work with the selection too, so you have to use the pen tool to select it. Yeah. So I'll just continue the placement of my lines. Yeah, okay. Yeah. This looks good. Maybe I'll just adjust this curve just like this. Yeah, this looks perfect. I'll do that to the last point of my line, to the last part of my line. So for this, I want to animit from here to here from left to right, okay? Zoom in and create it like this. Yeah. So now we have our lines on each of the parts of our litter E. So I'll just hide the A two and E three. I'll hide them, and we want to select our A one and come to path under the stroke option, under the stroke effect, come to path and select path one, to path one, and then now we can boost up the stroke size. So we see the stroke size increasing and also the stroke hardness. You can make this very hard 100%, and just reduce the stroke size for now. And now you want to come to your end, make your end zero, and just come to zero time and create a keyframe for your end, create a keyframe here and maybe come to 1 second and make your end 100. Okay? This is what we've now got meeting 0-100, just like this. Okay? Just like this. Perfect. Now we can now come to paint style. So we have paint style here. Come to pinstyle and click Reveal original image. So if you click Reveal original image, it's going to just create this effect that you can see here that you're seeing here. So with this now, if we play, we're going to see our text nimtingO lettering imting. Okay? Now, first of all, I just want to go back on original image. Now the thing we want to do is we want to animate the size of our brush to fit in our shape, to fit in different parts of our now, let me explain this to you. You can see that at this point, we have a slim ship at this point. At this point, we have a very large ship. At this point, we have a less large ship, and the shape keeps decreasing as it animts towards the end, right? So we want to animate the size of our brush, okay? So we're going to start by coming to zero and maybe creating a keyframe. Here. And maybe for this, we even want to make this 20. And then as we come here, at this point, we want this to be like 50. Okay? Yeah, like 50. Maybe at this point, we want it to be say 40. Yeah. So let's go ahead and enable reveal original image and see what we've got. Yeah, so we see that this works. This works. Okay? Our entire line is revealed perfectly. So select the Q frames just hit you on the layer, select all your Q frames right click and easy es. And we want to just select the end Q frames because they are the most important ones and maybe go to the graph editor and create this curve the speed graph. Yeah. Yeah, so this works perfectly. And that's cool. Let's go ahead and do the same thing for the A two. So enable it here. And let's start by making our brooch size bigger. And, of course, let's choose the mask one. Make our brush size bigger, make our hardness 100. And then, let's just come to the end, make the zero, create a keyframe, come to 1 second. Then make this 100. So we go from here to here. Now, we want to start with a really large brush size. So let's make this 50 and see. 50 could be even not enough. So let's say 100. Or 150. Yeah, so 150 looks good. It covers the entire ship. So you can go from 150, so from zero and go to, we've imited the end. Yeah, so all we need to do now is maybe create a que frame for brooch size. Maybe reduce the brooch size at this point. Maybe we want it to maybe at this point, we want it to be like 140. Now, it's not always necessary to do this for your brooch size. It's not always necessary to do this for your brush size. But sometimes we might just want to do it for our bro size because making the brooch size big sometimes is not helpful for the animation, okay? And we don't want it to be small to the point that our original shape shows, right? So let's just make this a bit bigger. So just 140 looks better, looks good. H so this looks good. So come here and reveal original image. So let's play this. And yeah, this is what we've got. Incredible. Now the next thing I'll do is, of course, hit you to review my keyframes, select all my Q frames and Easy Es using F nine, select my Q frames, and let's just open this up and maybe create what looks like this. Okay? Yeah. So this looks good. Next thing we do is animate the a tree, enable it and boost up my birth size, zoom in, select mask one, boost up my birth size to fill in the size of my ship, and then make the hardness 100, then omit 0-100. So from start, so you go to end and then emit from zero and then come to see 12 frames and make this 100. And then of course, reveal original image. Hit you, select the keyframes on end and eases them. Put your graph editor and do this. Yeah, so we see how really simple this complex method actually is. Okay? Yeah, so all we need to do now is just offset the different parts of our text. So probably we want this part to come first, and then we want this part to follow. And then finally, we want this part. So let's see how. Good. Okay, or we could do it the other way around. Maybe this part comes first and then this part comes second. And then this part comes last. Yeah, so either way we are achieving our electron imiion. One thing I can do is just hit you select all the Q frames and hold down or option on the mark and just click the last guy here and just kind of squash the Q frames just like this. And obviously move this one to the start of the layer and then push it into our time. Yeah, so this looks better. We've basically made our Q frames faster or our animation faster. Yeah, so we've got the first guy, the letter A. Now let's go ahead and work on the letter E. Select these ones, sh them on check Shi here, select the ones on Shi them and enable Shy. So let's go ahead and work on itas E, select all of them, then we can just add the stroke effect right away and then start adding or start creating our lines. So you've got the first one, let's just hide the other ones. So you've got the first one and we want the admission to come from here and go this way and go this way. So what I'll do is I'll just pill up my video so that we don't spend all day doing this. Yeah, so we're done with the first part, I will just go ahead and create the other parts and of course, speed up my video so that we don't spend all these. Now for this second part, I think I'm going to go just like this. From here to here, from here to here, select it and let's speed up our video while doing it. Yeah, so I'm done with the second part and for the third part, I actually want to create. Now this third part is this little part right here, this little part, this tale for this letter E. I just want to create from here to here. You get from here to here or maybe let's see. Maybe from here to here because we are going to create this first. Okay? So from here to here. I'm just going to hide the second part and create this from here. Learn to create it looking like this from here to here. Yeah, good. Now for the third part, I have my fourth part, and I want to create it, of course, from here to here, from here to here, from left to right. So select it. Take my pen to and start creating from left to right. Yes, guy, so we're done creating all masks or all our lines or all our paths for each part of our litter E, okay? So we're going to start, of course, and we're going to select the first guy, go to Path and select mask one. And then, of course, the hardness should be 100. And now let's just boost up our stroke a bit and see what we're doing here. Now, we start, of course, from end to start. So end has to be zero to come to zero second and create a cushion for end, go to 1 second and make end 100%. And then we go to zero second. Of course, boost up our shrok size. Okay, maybe make our strok size say 54. Or 57. Okay, so we've got this. Yeah, I don't think we need to animit the size for this. Let's just work with one size, which is 47.7. So go to my paint style and I'll just select reveal original image. So I've got this. Yeah. Incredible. So all I'll do is hit you, select all my Q frames and easy ease them. To my graphio create something that looks just like this. Yeah. Perfect. Let's go to the next guy, which is this guy, select mask one, and my hardness has to be 100. My brush size should be bigger. Let's go ahead and make zero. So we admit 0-100 to zero, create a Q frame here, then come to 1 second and make this 100. And our brush size has to be bigger. So let's see how it looks with 56.9 or let's just see 57 brooch size. Reveal image, and let's see what we've got here. Yeah, it's not looking bad. Okay? We don't need to admit the brooch size for this as well. Yeah. So just hit you, select your keyframes, easy has them. If you go to the graphic door. Just make our curve a bit more dramatic. What did I do here? Select both of them, open your graphite door, select your graph, and do this. Yeah. Good. And the next thing we animate is this guy. So we actually want this guy to start animating from here. Okay? We want to, first of all, make this mask one, increase the brush size, make hardness 100. This would mean a bit. And we want to go 0-100. So put the keyframe on end come here and make this 100. So go 0-100. And for brooch size, let's make this 60. And of course, reveal original image, so we've got from here to here. And I think our brooches need to be bigger. Okay? 89 looks good. So I want to just offset this. Yeah. Good. This looks perfect. Now, just go to the last guy, which is this guy and select my mask one, hardness 100. And let's see both size. Or let's admit the end first. Come to zero second. Pe the Key frame four end, come see 1 second, and make this. Okay, first of all, we have to make this zero. Zero second, I come to 1 second and make this 100. And of course, boost our birth size. Now for birth size, I think we need to admit our birth size. Maybe let's start with, say, 22.7. Keyframe here to here 22.7 for this, I will just make this 23. So we have just a slight difference, and then as it's coming here, I actually want our frame our brush size to be a big because we want you to cover the length of that part. Yeah, so let's see. That looks too big. We'll just hit you to reveal the Q frames, and let's see. That looks a bit too big. So let's reduce the size and see. H. So we actually want it to be as big as this. So one oh three is perfect. Now, I just want to select this keyframe and make sure it's replacing this guy here. So I want to delete this guy and just move this one here, and then select here and select reveal original image and play to see what we've got. I just play again. Yeah, this looks better. This looks better. So you know what we do, select all our que frames and eyes them. And for the end key fims I'll just go to the graph editor and make a cough look like this. Yeah, incredible. Now, that's it for this part of the video. But of course, we have to offset different parts of our litter E, right, just like we did with litter A, so that they appear at different times. Now, this guy should be the first guy, okay? So this guy should be the first guy, then this guy should be the second guy. Okay? So we want to select this guy and then select this guy since they are part of the same path, or they are the same path. So we just upset them so that we've got this I think I made a mistake here. No, I did make a mistake. I actually need to offset this. So we have this guy, then we have the guys. The two, this one and it's tail, and then we have this guy. So probably probably do this. Yeah, and then for these two parts, I actually want to expose their keyframes and just stretch their keyframe just a bit. So how Alt or option and then just stretch the keyframe just a bit. And for these ones, I actually want to make them EZ Es as well. So finally, we have this last one. Yeah, we actually want to also create an offset between the appearance of litter A and litter E. Remember, we don't want to confuse our viewers here, so enable this on shide this and just select all your litters E and just offset them a bit more so they appear only after litter A is complete, or is done. Yeah. Incredible. So hit S control save, and now go back to your main comp or let's create a new main comp for the complex. This main comp could be main simple and then create a new one, new composition and just name it Min complex and heat Okay. So the next thing we'll do is, of course, bring in our EE complex composition into our main complex composition. And now we have this Okay. Incredible. So I think this is happening bit slow. So maybe we just go back into our EE complex, select everything, hit, and select all our key frames, and just squash them a bit. Okay? Well, un down Alt of course, Hull down Alt and click and squash. Then just select them all and bring them to the start of of each layer. So each of them should align to the start of their layers, their respective layers. Now let's play this and C. Yeah, so we see that the litter E is happening quickest. So I'll just make this part of litter E. Okay. I'll actually bring the Q frames inside litter E. So inside this part of litter E, and let's see yeah. So for this part of litter E, let's just go in and see what we have here for this part of litter E. For this one, you can see that our keyframes are also outside. We just bring them to begin at the start of our layer. Yep. So with this one. And so also with this one. Yeah, and so also with this one, maybe for this one, I think I'll just make the key themes a bit more stretched out. Okay. Yeah, so let's go back to complex or Min complex and see what we've got. Yeah, this is good. This is good. I'll just select my layer and then go ahead and give it a feel effect, feel effect, change the color to whatever color I want. Here we just use similar colors from the last example, and now we have this. I'll just hit S to scale this down a bit and control D and just offset this guy the one on top and set the one under and change the color to darker color. Or we can do the vice versa. We can just change the one on top to a darker color. Yeah, and maybe just do one more duplicate and offset them just like we did the first version and make this even brighter and at play. Yeah, now this looks perfect. This looks good. And that's basically it for this first part of our complex AE lettering animation technique. Okay? So in the next video, we're going to explore how to make our missions more complex than they already look. Yeah, and that's it for this one. See you in the next one. Bye bye. 5. 5 Adding more rizz to our Simple lettering animation: Hey, guys. Welcome back. So in this lecture, we're going to add more as to our simple technique animation, our simple technique lecturing mission, which is this one, which is playing on our screen right now, okay? We're going to add more swag, more detail, basically making it look more beautiful, okay? So here in Illustrator, I've gone ahead and actually duplicated my file. So if you come to the fold down on trine Animation or lettering animation rather, you're going to see I have this new AE simple file with the name details added to it. Okay? So just bring this up. And inside this one, I am going to now create the details. Okay? So the first thing I actually want to do is select everything here and just kind of come to objects and do expand and hit, okay? And now what we've done is we've turned our lines to actual ships, okay? So remember they were lines before, like these, they were lines and they had a stroke. Now they are actual ships without a stroke, okay? So that's the first thing you have to do, and then I'll just select everything for litter E and come to my properties panel, open your properties panel and just come down and you're going to see where it says Pathfinder. And this first option, just click on it to unite the different parts into one who ship. So if you look at our layers panel here, we only have one who ship for litter E. I'm going to do same to litter A. I go to objects and go to expand and hit okay. And now come to your property panel and unite them. So we have litter A as a who. Okay, so I'm just going to bring this up here and going to delete all these other ones by holding down shift to select all of them and delete. Perfect. Now the next thing I'm going to do is select this guy and also this guy. Control C, Control F, that's Command C, Command F, to copy and paste in place. Okay? So we have two copies of A and E. What I'll do is I'll just create two new layers, one for A, Control X, and select layer four and Control F. That's cutting it from this layer to this layer and do same with E, select the topmost E, control X, and then come to this new layer and control F. Okay? So we have A E, A E, okay? Yeah. So now we're just going to hide this ones under and work with this one for now. So select this first Ki, come to objects, and come to path and come to offset path. So click on offset path, and what we see is we are offsetting our parts and making our parts bigger, okay? So our part is bigger now. Now we're going to use maybe thin points for the offset, and we want to leave joints to meter and then for meter length, sorry, for meter limit to three and hit okay. I'm going to do same to this guy. So select this guy, go to object, go to path, go to offset path and do the same thing, so that we have the offsetted path. Okay? This is the offsetted one. Now, I just want to pick the smaller ones, which are the ones in the middle. So select this guy who then shifts and select this guy and bring them out and just delete them. Okay? So we have this first guy, and what I am going to do now is hold shift. So shift X to basically swap the field color to the stroke color. Okay? And you can do that for vice versa. So if I had the stroke color and I want it to be a field color, can just select it and shift X, and we're going to have it back like this. So shift X, select this guy and shift X. Okay? So we have both A and E as strokes. You can select everything and come here where it says stroke, and just make this thick maybe three points. Perfect. I'm just going to enable guys enable these guys. For these guys as well, I'm going to select them and do Shift X and shift X. Select the both of them and also boost up the stroke. Let's say three points as well. These are the details we want to have and I think we can add one more detail. I'll just come here and pick my pencil and for this one, I want to just create straight lines across the length of letters like this. Yeah. So you want to have this and then have this line running across diagonally like this. I'm going to hit A on my direct section to select this anchor point and just position it properly. J hit V for my move to and then select this guy, right click on it and go to transform and go to reflect. And now you want to make sure you transform you set to vertical and then 90 degrees and just hit copy so that we create a copy and then I'll just move the copy while holding down shift key to snap, E and then move it to this point like this. I don't want to do the same thing to letter E. So take my pen to come here, click hold down Shift and click. And then position this properly. Yep, and then I'll just click and click. Make sure this is in the middle. Perfect. Just hold on and create a copy. And I do do Control D while having this selected. Control D and just going to create a copy or repeat the last action, which was to duplicate this copy and bring it to this place, right? So we have it now placed in the right position because of the equal distance from here to here, okay? Here to here, here to here. Yeah. So the next thing we want to do is actually have these lines on their separate layers. So I'm just going to create a number of layers by clicking here, of course, as you can see, click here. So number of layers. And for this guy, we just hit Control X to cut him from this layer and bring him here and select this guy that's the layer five and Control F. So same with this, Control X, come here, Control F. Same with this, Control X, come here, Control F. And I can just rename this AL. That's A line one, AL two and AL three. Perfect. Now, do same for these other guys. E. Control X, select here and Control F. Select Control X, come here. Control F. Control X, come here. Control F, Control X. Come here and Control F. Yeah. So we want this to be named E one, El El two. EL three. And then EL four. Yeah, so we have all of these looking sweet and perfect. I'll just control S to save this and go back to After Effects. And right here in After Effects, I will just click here, go into my folder and select the Asimple details and come to importers and select composition retailer sizes and hit Import. Perfect. So we can go into the composition, enable transparency, and now we see this is what we've got. We can select everything here, right click and go to create shapes from vectors. Click one of them and hold then bring it to the topmost part of the stack, layer stack, and just select these ones and delete them. Yeah. Now we have some layers which we didn't name. That's this one, okay? That's not a problem. So what are we going to do now? We're going to add our trim parts to open them, we're just going to hit the tiller key to make this bigger. Go ahead and add trim parts to all of them. Okay, I added the good parts for this instead. So trim parts. Where is it? Trim parts. Sam for this. Trim parts. Where's my trim parts. Same for this. So everything and I'll just close them. Yep, and then it tilda to go back. And what I want to do now is just copy them, Control C, and go to my AE simple and just piece them, ControgV. Okay? And this is what we've got, right? Now, we need to start animating all of these. So I'll just first of all, hide the ones I have animitd before. Okay? Just hide them or hide them for now. God so that we now take time to create these ones. Let's go to Min simple and see how it's looking. Okay? So let's just focus on the E E simple details first. Yeah, so let's see. We want to start with Litter A. So I'll just hide everything for litter E. Okay. Except for this. Yeah, even for this, actually. I want to just hide everything for litter E and of course, bring them bring these ones here. Perfect so that everything is hidden uniformly. And now we want to start animating L one and L two. So let's go to L, sorry, AL three. I'll open my layers properties and then go to trim parts, and I just want to create an animion. So first of all, I think I'll just boost up my stroke for AL three and AL two. So make this stroke say five or six. For you start, maybe change the color change the color to this color and then open my options. Now we want to go 0-100 and we want to come here and actually create another offset, sorry, another keyframe on the start for start. Come here, create keyframe for start and go a bit more in time and make this 100 so that we've got this, okay? Perfect. Now select everything. Easy. That's easy, not easy es in, so easy Es. So go to my speed graph, select everything. I just read a graph that looks like this. Yep. So we can copy the strim parts for this, Control C, and then just paste it here. Yeah, we can actually paste it here instead of recreating it, okay? Or we can copy the key frames if you want. So we can copy the key frames if you want that start and end, Control C, and paste them on this strim part as well. Okay? So we can have this. If we want, we can actually offset this so that we have the first guy and then the second guy. Yeah. And we make them stretched if we want. Yeah, so this looks good. And let's just zoom in and see something. Okay? I want to actually make our soup thicker. Let's see it. Okay. Let's see eat and also go into our strok options. Go into our stroke options and I want to give this around cap. I want to give this around cap. As for group one. Come here. Go into group one as well, go into stroke one, and I want to give this around cup. Yeah. Okay. Now, I will just copy my key frames for trim parts. Close this close this come here and open select my trim part and contro V so that we get this. Incredible. Select this guy, make this eight, just like the others. Yeah, I think it's eight. I think they are all eat now. Yeah, they all eat, I think. So make sure it's eight and change the color to something we like. And, of course, the stroke as well, go into the stroke line cup and select round. Incredible. So let's see what we've got on the A is simple. Okay, the thing is we've not added this actually to our main simple guy, right? Or A is simple. We've not added this. We still have this guy here, okay? So let's just focus on animating AI simple detail first. Yeah, and then now let's animate these other guys that this one and this one. Okay? Just hide them. The first thing we've done. Now, let's go ahead and animate this guy and this guy. This is the inner outline. So I'll just open this up and add the trim part here. Of course, we have a trim part, so I can just delete this. And you know what? I can actually add or I can actually copy the trim part from here. We hit you and select the key frames, Control C. Close this, come here and Control V. Yeah. Now you can just open this up and try to make this look better. And of course, first of all, maybe push this up by four. Yeah, by four or five give it see a red color. And now this has to slow down a bit. Okay? Yeah. And maybe we spread the key frames like this set this to here and spread them. You said that it's slower. Okay. Perfect. And let's just come here to trim multiple shapes and make this individual so that it trims the multiple ships individuals. Remember, we have multiple shapes here, we have this guy here and this outer guy, and this bigger guy, so I'm seeing, we have the inner ship and then the outer ship to select everything, and I think I will just make some more adjustments to our graph editor. I'll just select everything and easy ease them again. So F nine and open this up. And now let's see. Do this. And I'll just spread this up, spread this out. Okay? Yeah, now let's just copy this or maybe not copy this. I'm thinking of pasting this. Okay, you know what? Let's just copy this. But before then, let's just do one final adjustment to the graph editor. So let's make sure our graph is looking like this. She starting first and then slowing down. Okay. Good. Now, let's close this and let's copy our key frames. To copy our Q fims Control C. Now I just want to, of course, come to the zero second, bring my time to zero second and then select this guy, which is the biggest circle. The bigger outline. Now I want to control V, even though I want to first of all open my trim parts, select it and Control V. So we have the Can mission. Make this five and change the color. Okay so that we have the same animation. But I want to make a change, go into my graph editor. And before I go into my graph editor, I just want to select them and easy ease them. Then go into my editor and then create a different kind of animation. I'll first of all, make them slow and then faster at the end unlike the other one which was fast at the beginning and then slower at the end, right? Yeah. So that's what I want to create. Then just play with these keyframes positions a bit more to create a better animation. Yep, looking good. Yeah, so now we can go ahead and start working on on the colors. Okay? Well, let me just try one thing here. Let me just I'll just copy them. Instead of working on the colors now, I'll just copy them Control C and bring them to A is simple. And I'll just delete everything here first of all, and just come here and Control V. Let's see what we've got. Okay. And we see everything and meeting together, right? Now, our A is more complex due to this so if you go to Min, you didn't see that, you have more complex animations for A. Okay? Yeah, we can see how complex and really interesting it gets thanks to the little work we did here. Okay? Thanks to the little work we did here. Okay, so let's go back to A is simple and see what more we can add. Yeah, so I think this is just cool. Now, let's work on litter E. Let's work on litter E. Let's go back to A is simple on hide this. A simple details rather. And I'll just enable shy and shy these ones I'm done working on. And now let's go ahead and enable these ones. And start working on them. Okay? So I think I will just do one more thing here. I'll first of all, hide my layers and just come in and copy the trim parts for most of them, so that we don't recreate, okay? So select the trim part and copy and enable my shy. And I'll just select all of them here and come to time, come to zero second and Control V. Let's see. Now we see that this isn't too bad. Even though we need to do some more correction. The first thing I would do is select these lines. Yeah, these ones. This one, this one, and finally, this one. Yeah, and then this it and of course, change the color actually, we don't need to change the color because the colors will change ultimately at the end based on the field color we've added, right? Based on the field color we've added here, you get the point. But just for visualization purposes, we can change the color and you can just come in, and we actually added the trim parts for these before. So we just delete one of them. That's one which is not animated, delete them that's the trim part one. And so, next, we're going to go into groups, going to shook and give this round cap. Give all of them round caps. Okay. So I'll do that quickly. Yeah, so the next thing I want to do is just offset some of these lines. Okay? So these lines, I need to offset them. I don't want them happening so abruptly. So just offset these ones. Okay, so that we have the vertical one coming first and then this one coming later on. Yeah. Next is working on these outlines. Yeah, so close this and let's work on the outlines, select the two outlines, make this four, change the color to what we can see well. And I'll just cross check with this one and see how many or how thick it is. There's the other outlines here. Okay, I can't select them, so I'll just hide them layers and try to see them closely. It's actually five, not four. So let's go ahead and change this to five. I'm trying to look for them. Yeah, these are them, two of them. So change them to five, not four. Yeah. I also want to just copy the admission on the outline, we have for A, hit you and copy the admission here so that we don't waste time trying to recreate what we already have on A. You get the point. So just come here for E. Now, this is actually the inner line, I guess. This is the inner line. So go on E. Go to the inner line now. This is the inner line for E. Open this up. We have to delete one of the trim parts, open this up. Let's just delete these keyframes for now. Delete them and just piece, CtraV so we have this instead. Yeah. Close this up, and let's come here to A and select the outer outline. Select the keyframes for the outer outline, Control C. I'll just enable Shi to hide them and then come to E and select the keyframes for the outer outline, which is this hit to enable our Q frames to reveal our Q frames for the trim parts and we'll just delete them the existing ones and Control V. Yeah, incredible. So you can go to our EE composition. Okay, first of all, we have to actually copy them. So let's copy what we've done now. Copy everything we've done. Control C, and come to A, simple and Control V. So we have all our details unimitd for both A and E. But I can't see my E part of my E right here. I don't know why. I don't know what's wrong with that part. I really can't see it. Let me just try to see if I can see it, if I can find it. Yeah, I really can't see that part. I don't know why. And we have a lot of ships here. We have a lot of ships. It's a bit confusing. I think I just mistakenly deleted it. I don't know how. Okay, Outline one. You have this. We have this. We have this. But we don't have the other parts. You hear the point. Yeah. So I think we just do Control D, a simple Control D, so Control D for this. And now for this guy, let's hit and see where we have the key frames. So it's not going to affect to select him, maybe upsect him a bit and just manually bring him up to this point. You get so as to replace the missing guy. Yeah, but actually the missing guy is not this long. So let's just reduce the size of all the length of our parts or just take the pen tool here and select this anchor point and manually bring it in just like this. Yeah, incredible. Now, if you go to the main simple, you're going to see that everything down comes to life. Everything now comes to life. But So we have an incredible animation. And we can just come here to 3 seconds. First of all, just Control K and make this composition 6 seconds. Here. Just come to 3 seconds and select everything. Control Shift D and delete the excess, select everything. Control D, right click, go to time and time reverse layers and bring this here. Even though we need to do this. Now, let's see. Yeah, we're actually creating this reverse. You get the point. So this out animation instead. So we have the in, and then we have the out. Yeah, and this is just basically scratching the surface. There is so much we can do. We can add more details. We can make this more interesting. You can make this more interesting. For example, we could just select everything and easy. Sorry not easy and precompose, and maybe just call this precompose one or simple, simple, or simple big. I'm very bad at naming, maybe simple big prempo precomposition or whatever you want to call it, select this guy, maybe come here and let's add the transform effect and give you the slight queue Okay. Incredible. You can maybe create a frame for the skew for the skew and then the skew axis, and then just come repeat in time and make the zero. And the zero as well. So you hit on your keyboard, expose the Q frames so that we have this sort of animation. Yeah. So it's starting this. Is starting like this and then just skewing. And of course, ease our Q frames. Go to the graph editor and make this a bit more dramatic. Mybe this and this, this what we've got. Yeah, of course, we could spread out our Q frames Okay, probably even make our sue a bit more dramatic. And maybe come here, click here to repeat our Q frames and just come here or maybe come here first, then bring this then just copy these frames. These first ones, Control C, Control V to bring everything back to how it was initially. Let's select these ones, go into the gravital and see what we can do with them. So let's just do this and do this. Yeah. Incredible. So I love this. I love this. I love this. I totally love this. And this will come to the end of our lecture. See you in the next one. Bye bye. 6. 6 Adding more rizz to our Complex lettering animation: Here, welcome back. So in this lecture, we're going to be adding more detail to our complex lettering admission technique. Okay? That's this particular admission right here, we're going to be adding more details to make this even more interesting. Okay? So let's just go to the AE complex composition, and let's start right away. So the first thing I want to do is add some detail to this A animation right here, okay? So the first thing I want to do is just come here, right click and create a new ship layer, and in my ship layer, I'll tick my pen and just start creating something like this. So I'll start creating from here. Okay? And create this. I just remove the field color. Okay, and create this look. Okay. I'm trying to march this to this. Okay? I just want to bring it to this point. Okay. So try to position everything properly. Try to arrange everything properly. And then I'll explain what I'm trying to create. Yeah, so this is what we're trying to create. Okay, we're going to go from here. So after this first animation, we're going to have trim kind of animation happening along this path, and then it's going to do land into the next part of litter E, which is this part, and then this part is going to animate. Okay? Now, let's see how to do that. I'll just first of all, boost my stroke size and then open my ship layer, click Add, and add the trim path. Okay, so trim parts, and then I'll just come here. Okay, I'll just come here to this point where this particular admission stops. The key or ends. And then I'll open my trimpatG into my end, create a keyframe for my end, and then just come a few frames forward and make my end 100%, zoom in, come a few fims after my first guy here and create a keyframe for sorry, for start then come right here and make my start 100%. So we have this you get even though it's too fast, but you get the point. So now we want to actually offset this part, the admission for this part so that our admission here can be longer, okay? So our admission here can be longer. Okay, so we want this admission to start from here. So select the guy and then move the ship, move the ship. And it seems we actually need to move this ship as well. Yeah, we need to move this ship as well. So I'll just undo this and just select him and select or guy here and just move them together so that we maintain the offset between the two selected layers. So we've got this, you get the point. Incredible. So we want our admission to start here. Okay. I'm actually not seeing it admit. I think I did something wrong. I'll just undo this a couple of times. Good. So I want to have it. Yeah, you see the point. You see the point I'm trying to make now? Yeah, there's a point I'm trying to make this is what I'm trying to achieve. Yeah, so just select everything here, all these keyframes and EZ them, and we want to now do something good speed editor, or speed graph. And then we want to achieve a speed graph that looks probably like this. Let's see. Or maybe not. Maybe we want to make the end faster. Yeah, we definitely want to make the end faster. Okay. I think we might just work with a default graph for the eases. Okay? So I'll move this a bit further. So our Animation begins where this one ends. Yeah, and then now I can now select my shape here that's my stroke he can change the color to black can make this even bigger. And then I can just go to the stroke one. And now I would just open my tipper and increase my tipper my start length to 100% and also my end length 100% so that we get this. Okay. Now we can also just make our stroke size thicker or stroke thicker. Yeah, you can see that it's too thick, right? So you want this to be want no one. Yeah, and I'll just close this up, close this up. Let's see. I'll hit you. Let's see. I feel there's still more we can do. Okay. Let's see what changes we could do to the graph editor to make our admission even look better. Yeah, this looks better. So we start first, just end everything slower. And then our admission can start from here. Well, could even make this longer, actually? Could you even make this longer? Okay. So we do this. Incredible. Good. Now, let's go ahead and add some more detail because we have this first part now completed. Now, we can focus on the second part, that's the E. So for the E, we have this first animation, and then I think we should create something that ends here, okay, something that just emits out. Okay? You can create something that emits out of here. And everyone feel we could create something that comes from here and then goes into this other part of the E as well. Okay? That will actually make a lot of sense. Now, let's see how we can do that. But first of all, I have to readjust all other parts of our admission because of this new part we added, there have been offsetting yet, there have been some offsetting. So we just pick this part and all the other parts of our E, and just offset them a bit so that they start after our litter E is done animate. Yeah. So you can select this guy right click a new Ship leer. Take my pencil and then create a path like this. Of course, we want this to be just see eight pixels, and we want to create a path like this. And we definitely have to make our composition bigger, right? Just take my pencil, create a new point here, and adjust properly. Okay. So if this doesn't make sense, I would definitely abandon the idea, okay? Because this is just an idea I didn't think of before I started recording this video. I just came in here. So I don't know if it's going to make a lot of sense. So we have the first animation, and then it's going to come here and land into F, sorry, letter E, right into the other parts of litter E. Now, let's see. Let's just do Control K into composition settings, and I'll just increase the height of my composition to accommodate the new part. You get heat ok. Now, this is really long. It's too long. Control K. I'll just reduce the size. Shouldn't be this long. Yeah. Ki okay. And let's arrange this accordingly. So you've got this animating and then comes here and lands here, you get the point. Yeah. So this makes sense. Let's see if it's going to make more sense after we animitedT open it up and add the trim parts. Let's go ahead and add the trim parts of my trim parts, and I want to take my end to zero and then come here after this is done. At this point, I want to make this onto animi from zero. And 200 and come some frames after my first frame and click Start keyframe must start come here and make this 100. So you go Good. You could like this. You get the point. Incredible. So now from here, at this point, we want this part to start animating. So select it. Select all the others, offset accordingly so that we have this. Yeah, and then select all your key frames. Easy ease them. Yeah, and of course, we want to boost the thickness of our stroke. It's definitely too thick right now. And then of course, go into the Tipa and make this 100 and also 100 and boost the size of your stroke. Close. Close this Okay. Maybe not this, we still open this. So we have this. Yeah. So you see, we need to make the stroke size a bit bigger. Zoom in here, take my pen, click here and bring this right into our shape, position it properly so as to fit the size of our shape, okay? Yeah. So you see, it looks like it's just a part of our ship that's coming out. Come here and for here, I think we need to position this properly so that it looks like it's actually coming in very smoothly. We can just do this and do this. Yeah, you get the point. I'll just select these guys and probably position them properly. Yeah, so you see, it's not looking bad, actually. It's not looking bad at all. Okay, maybe we need to close the gap. To make this happen faster. I think the previous version is better. Okay, so don't close the gap. So we're doing a lot of trial and error here because I had not practiced it this earlier. Doing this out of my head so that we add as much details as possible, as much good details as possible. Yeah. So, this might not be perfect, so perfect, but you get the point, right? You get the point. You basically get the point. Yeah. So that's it for this one. Let's see how everything looks here. Yeah, if you want, we will create a new adjustment layer and just add the transform effect and give it a bit of skew. You get the point. Yeah, and then one more thing we could do is actually create one little detail. Okay? So we could actually create one little detail. We could create a new ship layer, new ship layer, and then just create this path from here to here. Okay, let's reduce the size of our stroke. Yeah, and then for this guy, I just want to open my layer options and then add my trim parts, and I want to omit from this point key from this point, I want to open my end, click on create the keyframe, and then come here and just this first of all, come here. Me this zero. Then come to where it ends. And make this 100 and just come a few films after our first film, create a Q frame on start, come a few films after our last film and make this 100 so that we have this kind of animation you get. And we want to make sure this is 100. Yeah, select everything, right click and ease and easy ease rather Yeah, you get the point. So I think we still need to make this 100. Okay, and just quash the length of our admission. Just keep adjusting this to make sure we get something good. Yeah, so this looks good. Okay? I'll select my shape layer, make my layer stroke C 12 points. Yep, and then just doom in a bit. Position this more properly. Do this. And then I'll just go into my strok options and go into my tipper and I'll make my tipper end length 100. I'll just close this so that we get this. Yeah, and maybe just post up or shook size. So just this much. You get the point. We want to admit this thing going out. So that's what we want to achieve here. Yeah. And we could even do this. We could make this longer, and further. Yeah, this looks good. Incredible. Now, I can just select this guy Control D to duplicate him. And I actually want to come here, take my pen, select this part, and I just want to have a different path or a different direction for this other guy, and maybe even hit you to expose the key frames and just offset them a bit and see what we get with that. Yeah, you get the point. Think we can make this better. Let's do this it my move to position this properly. Yeah. Yeah, this looks good. Maybe it could be faster if you want. So we can select these keyframes, move them closer, and these as well, and move them closer. Yeah, and then go back to my main complex, and let's see what we've got. You can see what we created. Really incredible, really incredible. Incredible. And then finally, we could just come here, maybe create a new ship layer. And for this ship layer, I'm just going to create a rectangle and give it a fill color and remove the stroke color. Okay. And I'll just give it a plug and blot or a plug and blot and then come into my plug and bloat, open it up and just play with my amount. Yeah, play with my amount. I want to go from this. Okay? So create queme here, go from this to this really amazing amount. Okay? The shooting star, and then I just want to close with this Control C, Control V. And I just want to select my layer and make sure my ankle point is in the middle of my ship. So I'll take my punt behind to bring my ankle point here or use my controls, which are Control Shift home. Control Tom, not control shift or control or command option whom to bring it to the middle of your ship. I just want to hit for scale as well, and hit U as well to see the keyframe and then just hit shift to add the scale and come to the middle, create the keyframe here. Come to the first guy, make the zero. And sim with the last guy, make this, select everything and easy so that we get something like this. You get perfect. Now we can just come here, Control Shift D, delete the Xs do Sim with this guy, Conrohif delete the xs. You just position this somewhere. Yeah, somewhere. Maybe position this here. Not looking too good, but I think we could position it here as well. And maybe we get a duplicate and for the duplicate, for the duplicate, we just have it here. Of course, the duplicate should be offsetted, that's correct. So we should offset the duplicate so that we get this. Yeah, incredible. And then we can just create a new null object and just parent everything to our null object so that we use the skill property of the null object to just make things a bit smaller. So that we get the balanced composition, yeah. Now, this looks incredible. This looks incredible. I won't lie. It looks incredible. Yeah, we can go ahead, change the background, do all sorts of things we want to do to our composition. But in a nutshell, this is what we have added. We've added a lot of details, a lot of beautiful details to our animation. And this will come to the end of our lecture on adding more details to our main complex animion and see you in the next one. Bye bye. 7. 7 Class project (Part1) - Creating first part: Hey, welcome back. So in the course of this modio, we worked on a lot of things. Okay? We created this in the coure of this modio. Yeah, we created this and not just this. We also created this. Yeah, we created this as well because of this module. And we learned a lot of things. We learned how to create the basic stuff and then add these details. Yeah. Now, in this exercise, we are going to use all that we've learned to work on a bigger project. So I'll come to file and then new project and go to my foldr. And in my full Dar, I'm going to select the latrine Admission exercise at the below Street of file and go to import us, and then composition retain layer sizes, and adiport. Yeah, and then go into my composition, and I'll just toggle transparency here so we see what we are going to be working on. So this is what we are going to be working with, and we can see that it's a bigger project. We have the Illustrator file here. Okay. Sorry. Yeah, we have the Illustrator file here, and you can see a lot of layers. We have lots and lots of layers. So this is going to be a big project, and it's going to be a long one. So we're going to divide this project into several videos. So this is the first part of the series. Yeah, so we're going to start with the motion. Okay. And then we're going to go into the graphics later on. So for now, I'll just select everything that says graphics, including this line here, including this little dot for our eye, and I will just shy them Enable shy and even off them, okay? And including this guy, of course, hide it and shy him and then enable shy for all the layers. Yeah. So now we're left with just these ones with our line here. Now I'll just select everything right click, create create ships from vector layers and click and hold and drag them to the tab part of our tack, and then just delete these ones, delete them. So we are left with only the ship layers. So we're going to start animating. Now, I'm just going to select my line here. I want to start with my line, even though it's going to be the last parts that will animate, but I just want to animate it first. So good to add and go to trim parts. And on the trim parts, I'm going to make this 100, okay? And then create a keyframe Okay, let's see. We actually want to animate from down to top, okay? So we want it to be 100 and then create a frame here, and then come to 1 second, then make this zero. Okay, make this zero so that we go from zero or 100 to zero. And we actually want to come here. There's a few frames after our first keyframe, then create the Q frame the first start, then come here and make this zero. Okay? And one final thing I would do is just come some frames forward. Okay, maybe 12 frames, 1 second, 12 frames and make this 100, so that we admit back. So we have something that looks like this. You get the point. So we select all these key frames and easy ease them, use F nine, or just use the options. And now we have this easy eased. Now, I'll just go to my graph editor and just start creating a very nice curve. I'm going to do this and then do this and play my video. Yeah, so we see what we are creating, the dramatic admission we are creating. Yeah, so that's what we want to go for. Yeah, we just have a little more adjustments to do here. Put this up. And let's play this one more time. Yeah, so it seems the sharpness and the speed here is a bit too much. So we just reduce this and also here as well. Yeah, so we want to just select all our frames here and then hold down and click and stretch them out. So they last for see 3 seconds then play them. Yeah, so you see this looks better now. Maybe 2.5 seconds. Okay? So hold down or option and then just stretch them back or squash them. Yeah. Yeah, maybe it shouldn't start this slow. So I'll go back to my graph editor and just select my key frames here and just speed them up a bit. Yeah, so you see this looks better. Yeah. And then I close my graph editor and go ahead and add my trim parts animation to my parts. Okay, so I'm going to start with this guy, so open this up, click here, add trim parts. Open three parts. Me end zero, and I'll just click here the keyframe good 1 second and make my end 100. So we've got this. And of course, this is too slow. So maybe make these two frames. Okay? So we've got this. And now we just go ahead and Easy is our key frames. So easy is our keyframes. I don't know why I like using the options instead of just F nine. Okay? You can always use the options. Maybe just go into a graph editor and make a curve just like this. Incredible. We can copy our trim parts, copy our trim parts, select the trim parts and Control C. Close this and I'll just select this guy and Control V. Select this guy and Control V. Set this guy and Control V. Yeah, and of course we want them to begin at different points. So I'll just hit you on all of them and just reposition them properly. So we want this guy to be first, and then this guy to appear second. So we want to select the keyframes and just offset them like this. And this guy, this guy should be third should appear third. Yeah. So we can see that the admission is a bit slow. So I'll just select all my keyframes here, hold down all and click and just squash them a bit so that we get, so we can see how fast it's looking now. It's way faster and it's way better. So we have and Yeah, so next, we have to admit our little O. Select everything here, just close them, come to OF O, I'll just go to my zero second and Control V, piece my trim part, and then we're going to have this hit U, and it should appear here or it should start emitting around here. Okay, so that we have. And I'll just pull down all and stretch my key frames or just spread this guy out a bit so that our animation is faster or less fast, rather, slower. Okay? Yeah, next, we have to admit our T. You have to do Control V and Control V. Okay? Yeah, the two of them hit you to expose our Q frames. Now just position our Q frames properly so that we have them appearing at different times. Yeah, I like the T, go on to animate I, although it's hit Control V to piece my trim parts. Yeah, I like the animation also. Then for O, I'll just piece my trim part or just copy the trim part from this guy here to hit you, expose my Q frames. Or since I've not seen my trim part, I'll just open this up and then select my trim part one more time and copy it and paste this on Oh, contro V so that we have motion. Hit to expose my Q frames. I like this and now I will select my Q frames from litter M and piece them on litter N. The first guy, open it up, select my trim parts, Control C, close this up, close this up. Close this up and close this up. And let's just piece this on litter N. So motion. So we want to start from here, so Control V. Select the next guy, Control V, and s the next guy Control V. Select the three of them, hit you to expose the key frames. I take time to offset my key frames properly and position them at the point where they ought to appear. And of course, it's too slow. I'll select all of them hold or command or option rather and then just squash them. Yeah, so we have motion. Incredible. Now for this one, it should actually appear behind, or at the end, rather. So hit you to expose the keyframes and we want this to be here. So we have motion No. Yeah, I actually wanted to end close to the point or close to the time where litter N is ending. So I want this to be around here maybe. Now let's play this and see. Yeah, so this looks good. And just like this, we have our first text animitd. So motion graphics. Incredible. Yeah. And yeah, so that's it for this first part of this exercise where we animate just the motion, just the basic motion, right? Motion text. And the next guy, we're going to work on the graphics. I'm going to select everything here and just maybe give them a different color. Yeah. So we have them as orange. So our motion is called orange. Incredible. You can save this one more time. We've not even saved it. So we can just save it as exercise or etune exercise and heat save. Perfect. So in the next video, we're going to continue from where we stopped. See you in the next one. 8. 8 Class project (Part2) - Adding Details: Yeah, so in this next page, we're going to be handling admission for graphics. The last video we did motion. In this video, we're going to do graphics, right? So go ahead and hide all the layers that have to do with motion. I'll just hide them from here and also hide them here, hide them here. And for these ones, I'll select them and unshy them, and unshy them. And I'll just enable shy for the ones with motion. Okay? So we're going to come here and start our admission here. So I'll select the first guy, and of course, you know how we do this. We do this by adding one effect, which is the stroke effect. Select this guy come to effects and presets and type stroke. Yeah, and then go ahead and add the stroke, which is under generate. So add the stroke. And before we actually do that, we want to start creating paths on our ships, right? We have to start creating paths on our ship, and we are going to create these parts in the direction which we want our admission to flow. So for this G, we want it to come from here, right? So from here, it comes like this mits like this and then completes like this. So our part for this part has to come from here to here. You get the point. So we can just quash this down and go ahead and create our path. I'll just take my time and do this for every single part of our text. That's for every single part of graphics. I'll just speed up the video so that we don't spend all the creating our parts, okay? Yes, guy, so we're done with creating parts on each of our letters. So if you select each of these letters, you're going to see that we have parts on them, right? So you have to just settle down and create these parts, just like I have done because they are very important. Okay? Just create them using the flu which you want your animation to follow, and you can, of course, pause this video if you haven't finished adding the parts so that you add the parts and come back to the video and we continue. Yeah, so I'm just going to continue from here. Now we are going to add our stroke effect and create our animation. We've added it to it G, that's to the first part of litaG. We're going to create our anisionO parts, we have to select mask one and then for size, we just loosed our size a bit and then for hardness, make this 100 and now we have to come and make zero. And now we can start admitting, right from zero. So come here and create a keyframe for end, and then just come to say to frames and make this 100, hit you to expose the keyframes, and now we want to increase the size of our stroke the porch size should be increased. Sometimes we will have to animit the size of our porch stroke but sometimes we don't need to admit the size. I think for this part, we actually do need to admit it. Maybe just make it bigger. We want it to complete this part which has been left out here. So maybe make this 45 or 43 or 42. So 43 works best. Yeah. So we've got this animion. And then under Pintyle I'm going to choose reveal image. So now we have this. Then select everything here and easy es. Of course, we need to make our Q frames a bit longer or mission a bit longer. Yeah, this looks good. I'll go ahead and admit the second part of G. We wanted to start admitting from here to select the second part of G and add our shook effect and select mask one, of course. For porch size, I'll make this 40 or 43, like the other one. Then for hardness 100, then I'll start admitting From here, I'll end zero include the keyframe and then come here just a few frames in time and make this 100 and select reveal original image. Hit you for Q frames, select them, and then EZ. We don't want any quframe for spacing. Sorry about that. We don't want any keyframes for spacing. Yeah. So this is good. We got our first admission. Then let's go to the next one. So we can just hide or hide them as we complete them. So hide them. Let's go to the next one, which is litter R. Okay? So we want our R to start from here. So let's add our shook. Of course, mask one, and then Birch size should be C 43. Let's try 42 and C. We want to use the smallest brush size possible, because the smaller the brush size, the longer the emission or the cleaner or the more complete the emission you get. Okay? So that's why I'm trying to select the smallest brush size that completely covers our shape. Okay? For hardness, we want this to be 100 and so for Broch size, apparently, 38 works best. We want our R to start animating from here, we want to bring our N to zero. Then create the Q frame, come a few frames in time and make this 100 and select reveal original image. Hit you. Set our Q frames and ease them so that we've got this. We move our Q frames a bit forward. Yeah. So we'll make this a bit more dramatic by adjusting our curve. Or maybe not. Most of the stuff, we just work best with Ess actually. Then we want our R, like the second part of our R rather. So for this one, we're just going to hide it, shine it, and work on the second part of R, give it a stroke, give it a stroke and then Select mask one and hardness 100 and we want to create a keyframe from here, at this point. So we want our end to be zero and create the keyframe here, come forward in time and make our end 100% and select reveal original. Of course, our porch size should be C 39. So we've got this. Yeah. I hit you, select your key frames, easy ease your key frames, and let's play and see what good. This is miting too fast. So just spread this out. You got our G and R meting perfectly. Next we go to mit our E. We first of all, want to quit this part. I just shy my R and select the first part of my E and just add my stroke and then hardness, 100. And should be zero at this point. Create a key frame, become few frames in time and make this 100. Hardness should be 40. Hardness should be 100, but size should be 40 for now. So 40 works well. Yeah, 40 works well and then reveal original image. Hit you, select your qframesEs your Q frames. And yeah, this works well. Perfect. Now, let's create the next guy, add our shook, make our hardness 100, our brush size 40, and then start emitting from here, and create the key frame on end, make the zero, then come a few frames forward and make this 100 and then reveal original image. Incredible. I hit you, select your Q frames, EZ ease them, maybe spread them out a bit, select them, which is graph editor, create something a bit dramatic, or a bit interesting. Yeah. Next, we go to the next letter. Let's select the two Es and just sh them. Next letter P. For P, we want to start meting from here to add our shook effect and then hardness 100 and then take end to zero, with a keyframe on end, come a few frames in time and make this 100 hiddena make our approach size 40 40 works just fine. Let's see if 38 works well too. 38 seems to work well. Seven seems to work well too. Seven, let's just work with 37 and then reveal original image Yeah, so select your guy hit you, select your q frames. Easy your Q frames. Go into your graph editor. Create this. Yeah, so let's go ahead and work on the next part of our P, which is this part to add our stroke. Then we want to start animating from here. So hardness, of course, 100. Let's make this 40. I think 40 is too small of the other parts. So let's say 45. Let's try 45 or 46 or 47, I think we have to go as high as 49. Yeah, so 49 completely closes it. So create a keyframe from here. So create a q frame on end, make the zero, then come a few fims in time and make this 100 and then reveal original image. Q of course, EZ and the cycle continues. So just attach a QFrames Yeah, so we have to admit the next part. Which is this part right here. That's this part. Okay? So you have to admit it from Yeah, so add our stroke, and we need to, of course, you go apart size, say 45 hardness 100, then what else? End to zero and then create a keyframe. Come a few frames in time and make this 100 and show original image. Yeah. Select hit you. Keyframes, easy ease your keyframes, move the forward a bit. Let's see what we've got from beginning to end. Yeah, this looks good. Next, let's work on this part. And of course, we can shy all of this. These three parts. Now let's work on this one, so it's going to start from here, so let's start from here to add or shook. And then ph hardness to 100, make our end zero, put a keyframe on end. Come a few frames in time and make this 100. Hit you, select your keyframes, easy easier keyframes. And we want our hardness to be sorry, not our hardness. Our both sides should be 40. Yeah, and then reveal original image. So these keyframes go into the graph editor and just make my graph look like this. Yeah, and next, I want to admit this part. So you want it to admit From this time, I add my stroke. I will met my porch size 100, my push hardness 100. Yeah, and you know what? I will just sped up the video so that we don't spend all the because this video is getting too long. So I will just speed up the remaining parts. Of course, I've done from G to P. So of course, you know the process. Yeah, so just do that for the remaining parts of your graphics letters. Okay? Yeah, so just do that and we'll continue after I'm done with all these letters. So see you after I'm done with all these letters. Here, guy. I'm done adding my strokes to each of my characters here. So I'm just going to play this so you can see what we have. Yeah, so we have this beautiful animion of the word graphics. And also, I animated the line as well. Yeah, so this is what we have now graphics. Yeah, you can just select everything include allas on hide or on shy ears, close these ones, and then enible these ones. On hide them so that we see the entire imtion. Of course, we want to have motion before graphics. I'm just going to right click and then go to inverse selection, we select everything that is not motion. Now, we're just going to scroll down to where motion ends and now move all the selected ones to begin after motion. So we have motion and then graphics. Yeah. Motion graphics. This is what we've got so far, and I feel the admission is a bit too slow. I don't know if I'm correct on this, but I feel it's a bit too slow. So let me just try to make things faster. Let's see if that's possible. So I'll just select all my layers and hit you on my layers to expose all my keyframes. You can see that we have a lot of keyframes. And what I want to do is just select all my keyframes. So I'll just marke select from here. Markey select and select all my keyframes and I'll just try to squash them and see if this will. So holding down holes and squashing so as to increase their speed. You see they are mitting faster now, beat faster. You can do that even more. Cash their speed. You can see that it's now going outside our layers. So the keyframes are now going outside our layers for these layers, right? So we can just click and drag the ones that are going outside so that everything happens within our layers. So because of this, we might need to adjust the positioning of our entire layers because our admission will now begin from here, right, not from here, but that's not the problem. The most important thing is for all our keyframes to be within the length or within the confines of our layers, like we have them here like this. Yeah, so our animation is happening faster now. Maybe it's too fast to hold them all and just stretch them a bit to increase their speed. We just want to get the ideal speed here. So don't be impatient with me. Just be patient with me. So that we get the ideal speed. This looks good. Yeah, and I think we work with this motion graphics. Incredible. So basically, what I want to do next is just select everything. Of course, everything is selected. So I just want to make sure that this first key frame starts around here. Okay? Perfect. So just like this. Motion graphics. Incredible. So this is part one. J, we are done with P one. In the next video, we're going to go into Oh, sorry, this is part two. This is part two. In next video, we're going to go into part three, which has to do with detailing. We're going to start detailing our animation. Yeah, that's it for this one. This was a very long one. Sorry about that, but it had to be done that way. Yeah. So that's it for this one. See you in the next one. Bye bye. 9. 9 Class project (Part3) - Creating second part: Hey, D. Welcome back. So in the last couple videos, we created this here in After Effects, okay? And this is part of our exercise for this module. Now, in this video, we're going to be adding details to the first part of this composition, which is motion, okay? So we're going to be adding more detail to motion. And here in Illustrator, I have my details all set up, okay? So I'm just going to be importing this into After Effects and adding my trimpa animation and finishing up everything. Okay? So we'll just go in now. To my folder for lettering animation and select the lettering animation exercise details, select it the Adobe do file and click here and select composition retail layer sizes and helm port. Yeah, and here we have our details. So these are our details, and we're going to add them right away. So now I'm just going to in the builds, and I will just select everything right click and create shapes from vector layer. And next I will just click on them. That's the new shapes which we've created. So just click and hold and drag to the topos part of our stack and then just delete the vector layers. We'll just delete them. Let's start animiting our ships. I'll start with these ones. Okay, so I think for these ones, I just need to hide them for now. Hide these ones so that I work on these ones, okay? So the lines which run in the middle of our texts. So that's what we want to admit now. So I'll just start by quitting or by adding trim parts. So add trim parts, and then I'll just zoom in here and open my trim parts and just start from zero that take my end to zero and create a keyframe here and come here, maybe 12 frames for now and just make this 100. And I'll just come a few frames after my first frame and then create a keyframe for start. Come here and make this 100 so that we have this animion, right? I make sure this is 100. Yeah, so that we have this animation so that everything and easy Yeah. So that's the admission for us now. We just need to copy this into other lines. Okay? So I've just selected my trim parts and then Control C or commands, C on the MAC, then I'll select, I'll select this guy and just Conv select this guy and contro V, select this guy and ControV. So let's play and C. This is what we've got now. Yeah, so I'll just select all of them and hit you to expose my key frames, and then I'll start kind of offsetting them and positioning them properly. First of all, I'll bring this guy here that's after this one so that we have the two ones running vertically, so that we have them side by side. You have the first one on the second one, and the second one, I'm just going to maybe offset it a bit so that we have them running like this. And then for this one, I'll just set them a bit so that they start later on in time. So we have the first and second, and then the third and fourth. Okay. And then if I want my line to stay longer, can just select this and do this so that you can see that my line is now staying longer, right? And maybe I'll do this to this other guy. Yeah, so this is what we've got now. Incredible. I'll go ahead and paste my trim parts to this guy as well. So control V, offset it, hit you, to expose my QFrames. So we have this Incredible. I'll do same to this ones as well. So I'll bring my time here and Control V, hit you, to expose my QFrames and move this in place that we have this And for this line, I'll just select these guys these key frames and then move them so that our lines taste longer. Yeah. Then for this one, come to my first frame and Control V to piece my trim parts. Now just move it deeper in time, hit to expose my qframes and we've got this. Yeah. Same also for this one, ControV hitUF this one for the I, I will just select the two kframes on top and then move this so that our I stays longer too. Okay. Do the same with this one. That's our O. And finally, our little N. So come to little M and and copy the Q frames on litter. On this part of litter M, I'll just open this up and copy the trim parts, and then go to litter N and Control V. So we have this, and I'll do s to this guy, Control V, and also this guy, Control V. But for this guy, I want to just expose my Q frames and just move these forward and then select the three of them and move them all in time. Yeah. So we've done that for every word or every letter in the word motion. I'll just close all of these. And I'll just copy them or maybe, first of all, precompose them. So just precompose and name the motion and hit okay. Then I'll copy my precomposed version here to control V. Yeah. So you see but we need to do more stuff, more things. J? We actually need to add more things. We need to add this animation. Remember, we didn't add this animation that these outlines. So we just need to select them and Control V. Apparently, we can't page that because we don't have our trim parts copied any longer. So I'll just open this, hit U. Okay? Maybe not, just open it up and then select the trim parts, Control C, then select this guy select this guy and Control V. Just see what we've got here. So we can see that the admission is happening too fast, hit you, open them up, and we actually need to make a lot of changes here. So what I'll do is I'll select this keyframe, select this keyframe, Slet this guy also select this guy as well and then just spread them out so that it takes longer for our admission to complete, you get Okay. Yeah. So since I don't want to spend too much time here, I will just try to achieve speed by not focusing on details. So I won't focus on the details. Maybe I'll just create this kind of curve for the inner circles. Sorry for the inner outlines, and then for the outer outlines, I'll just create this curve. Make it faster at the beginning, and then slower at the end. Something like this. Select the outermost keyframes or the ending key frames rather, and just move them to make this even longer. Yeah, I am of the opinion that all other admissions that all of these ones going in the middle should end at around this time, at around 3 seconds. Okay? I just select all of this and just move them a bit more in time. Then select all of these and hit you to enable the keyframes or to expose the keyframes. And I will just move some of these. I will just move some of them forward so that our animations are able to complete faster. Okay. Yeah, so this is looking better, in my opinion. So let's see how everything looks here. Good. Now, I'll just come back here and pick one of this. Open it up, pick the trim part for this, Control C, come back here, and I will just piece that trim part here. I think for this one, I'll just off this line, there's one here, okay so that we focus on this one first to Control V. Let's see how it plays. This is what we get with this. And this looks good. So I will just now, add them to our admission here. But we want them to kind of appear first before our main animation. We want them to kind of appear before our main animation. Before then, I'll just come back here and select this guy, Control C or Control X, either one, and then go in here and Control V. Okay, so that we have everything in this precomposed version. Perfect. So I'll just go back to my electron animation. And now I will make sure this guy that the details are admitting first. Okay? I'll make sure they are admitting first. So I'll try to just first of all, Okay I'll just first of all, make my composition longer. So I'll make this S Sit 13 seconds. It okay. Yeah. So that all these ones should come in after our main sorry, after our details have been admitted or not completely admitted, but a bit later on, okay? So that we have them just like this you get. Yeah. This looks better. This looks better. Okay? I have one more thing to change. I'll just go into my motion precomposed or precomposition. And for this line, I want it to happen later on so that it aligns with the one in the main composition. So I'll start, I'll just offset this a few frames in time, maybe 20 frames, then go back and see how it please. Yeah, so we want it aligning with the main guy like this. Incredible. Yeah, so this looks good. Now, just create a new composition. Mike this 1920 by 1080. I'll name this final comp and then just it okay. And I'll bring in for this one, I think I can just delete this. I don't need this. Then I'll bring in my latrine mision exercise composition, which is what is it? Letterin mission exercise. Yeah. This is it. So I'll go to my final component and bring this in kill this. Kill this down and add, of course, a field color, right? Add the field color. I'll give this this color for now and see. Yeah. Incredible. Now, just duplicate this Control D, and, of course, offset this and change the color. Yeah, and then I'll just select the last guy Control D, and then select the second guy and the first guy and just offset them and change the last guy's color to something even brighter, just as we did in the class practice. Okay? So hit okay and I'll just off transparency to expose my dark background. Yeah, now let's play this and see what we've got. I'll just fit this to view and yeah, we can see the complexities. We can see how everything just looks good. Everything looks good. Everything looks good. Maybe we should change this color. Maybe we should make it a bit brighter, a bit brighter and a bit close to purple. Yeah, but this looks good so far. Yeah. Incredible. Yeah, so we're done with adding details to our first part, which is the motion. And the next video, we're going to add details to the second part and then finish the exercise. Okay? So see you in the next one. Bye bye. 10. 10 Class project (Part4) - Adding Details & Finishing: Hey, so in this final part of this exercise, we're going to be adding more detail to our graphics text, okay? And honestly, there isn't so much we can do. There isn't so much we want to do to our graphics so far. I think we are just going to add one little detail, and that would be something like this, okay? I just want this part of the S this one admitting this way to animate this way and then just come and land here and create the dot for our e. So it means the dot for our I currently, we have to offset it or move its position. I'm trying to wait. I'm trying to, actually, should just shy this and unshy some of the On try some of the Untry some of these. All of these, that everything related to graphics or everything in graphics. I'll just unshy them and shy everything in motion. So I'll just enable shy for this. And yeah, so let's work with this noun. So now I'm just going to take my pinto, and we come here, take my pento and then create a new layer that's a new ship layer, and I will just come here, zoom in a bit and create a path a path that looks like this. And I'll just make this smaller for now and do this. And finally, do this. I'll just go in and meet my path look even better. So we're coming this way and landing here. Yeah, I'll just zoom in here and work on my path better. Yeah, so let's see what we've got here. Yeah, so this is a very nice looking part and I like it. So I'll just select it, open this up, take my trim parts, add my trim part, and then I'll just come here. And after our admission is done, let's say, at this point, I will just go into my trim part, go into my end, take my end to zero and create a keyframe here and just come a few frames in time and take my end to 100. Okay, make this bigger. Then I'll just go into the ship, go into the stroke, and go into my tipper. Yeah, I go into my tipper and actually want my tipper to look like this. Okay, for my tipper start, should be zero, and there for my tipper end, should be 100 so that it tips like this. And then we want our line cup to be round cap, okay? Want our line cup to be round cap. Yeah. So I'll close this for now and I'll open Okay, I'll open my trim parts. And so we see that we have this animation. I'll make this bigger so that we see everything better. Yeah, to see that we got this admission. Yeah. And now from a few films after my first film after my first key frame, rather, I'll just come here and create a keyframe for start and come a few films after my end, after the last keyframe on my end and make this 100 so that we go just like this. Incredible. Just like this. And maybe I'll just make this bit more spread out. You get a point. So we've got this. Yeah, I'll just two of them and make them faster. Yeah, I'll make my admission faster. Let's play this and see how everything plays out. Maybe it should be faster. And like all of them in Es Es. Let's see. Select them. Now, just bring them closer. And I'm not getting what I want. I actually want it to look very realistic. That's the flu from this guy to our lines. Okay? That's the flu from this part of the S to our line. Okay? I want the mission to look like a continuous loop. You get a continuous animation. It shouldn't look different. Right now, it's not looking too continuous, my opinion. Okay, so let's just go in here and see what this animon looks like. Okay? So just go in here or select S. Try to select S. I'm finding out how to select S. Yeah, so this is the part here we're talking about. I'll just hit you to expose the keyframe and see what we've got on my graph editor. Okay, so the graph editor has this kind of curve. It's starting very slow and then fastening up and then slowing down. So it's actually slowing down. So we don't want it to slow down, actually. We want it too, let's try something like this. Let's try something like. Let's see. What if we have it Yeah, what if you have it looking like this? Yeah, so this is looking good. So what I want to do now is just close this up and let's go into these keyframes, go into the gravito and let's try creating something that looks like this. Yeah, so I'll just close this up, and I'll try to position them properly. So I want my key frames to start at this point. Okay? Now, let's play this and see what we've got. Yeah, so we see it's happening way better now. It's animating way better now. So it's looking continuous. You get the point. Incredible. Yeah, so I love this, and I'll just move forward to do the next thing, which will be adding a bit more detail to this line this line that's animating. Okay? So how do I want to do that? I actually want to first of all, I want to do this. O yeah, and then the next thing I want to do is just open this up, open my shape up, go into my stroke, and then I want to enable my dashes. I want to create dashes, along my path. But what I want to do is this I actually want to make the zero, and then I actually want to at this point, I want to create a key frame and then come see one fim forward and just add I just increase the amount of dashes, maybe to 67, then come one frame next, copy this keyframe, this first key frame and paste it and select all of them, and maybe move them one more frame backward or one frame backward so that we get this. Yeah, so you see while in flight, they get separated into three or more dashes. Okay so that's just a little little I want to add here, I'll just easyase them and let's play and see what we've got. Incredible. Yeah, so that looks good. And the next thing I want to do is animate our dot here, our eye dot. So I'll just close this up and let's look for it. It's easier to look for it this way. So that should be I two. Yeah, that's I two. I hit you to enable my Q frame. And now we want to position our animation so that it appears like this guy is actually revealing it, okay? Now, one thing I also want to do is now select this guy and I'll just open this up going to my stroke with, and I want to just increase my stroke as soon as we leave this guy. Maybe at this point, I'll just create keyframe for stroke and just make my stroke, just come one frame forward and make my stroke with larger. Let's see what we've got here. Yeah, good. Now, that's very little detail, which is helpful. I'll just esse this and then close this up. And next I will go to my dot. That's my eye too, okay? And try to position my eye to properly. That's the animation properly. So we have this guy landing here. So we need our eye two to animate like this. Okay? You get the point. So just this. So you see how everything plays out seamlessly, right? Yeah. That looks good. Let's zoom in to see what more we can add. So maybe for my I two, the position, I hit P. And since we don't have any Qurame under P, I'll first of all hit U to expose my frame and then do Shift P to add my position, and I'll come here and create a Q frame for position. I just want to position this properly so that it looks like it is inside our guy. You get the point. Okay. Yeah, and then maybe just com some frames forward and position it like this, frame forward. And yeah, this looks better. Maybe at this point, maybe we could just put a keyframe for scale. So come here, hit us, create a keyframe for scale, and then hit you to expose the keyframes, and then come here and just reduce the scale just a bit so that we hide it inside our stroke, right? Yeah. Then for the next film, you can just make our skill this big copy this and contro V. Let's see. Maybe it won't make sense, but let's see. Yeah, it actually made sense. It actually made sense. Yeah, it actually makes sense. Now the next thing I want to do is I want to add a bit of squash and stretch or some bounciness. Maybe some bounciness first of all. So while selecting my guy here, that's my eye, I will just create a new I sorry, a new null object. Now name maybe whatever, maybe just leave it as null one. I'll select my null one and position my null one. First of all, do Control Alt home or command option home to bring the ankle point from my null object to the middle. Then I'll just rotate it, rotate my ankle point, sorry rotate my null object and position it just like this. Just or just in the orientation which our dot has been positioned. Yeah, and then I will just select my dot here, that my eye to and parent it to my null object. Perfect. Now the next thing I want to do is here at this point, we want to create a keyframe for position to create a keyframe for position. And then at this point, we want our position to maybe come But inside. Then at this point, we want our position to go back, Control V. So we get this. Yeah, so you get this. That's what we want to create. I'll select everything and Ese and maybe stretch our Q frames a bit yeah, one final thing I want to add is a squash and stretch. So I'll hit a I'll do shift a while selecting my Noll Object and then come here and I'll just first of all, maybe not come here yet. I'll just come here and create a keyframe for scale. Now, come here, and I will just click on this chain icon to link my width and my height for my null object. Okay? And for my width, I will just make this 130. For my height, I'll make this 70. Then go back here and make this 100 and control C here and Control V. So let everything in ese. This is just a little squash and stretch. You get the point. Yeah. So let's play this and see. Yeah, basically, that's the detail I want to add for this one. Okay, I won't spend a lot of time adding so many details. Just this one is enough. Okay? You can add as much details as you want later on. Yeah, but we are basically done with this with this little detail we added. Okay? It's a good one. It's a good one. So I'll just go to my final comp and see what we've got. So you see how beautiful everything looks. Incredible incredible. I'll just come here and create a new null object or maybe not. I'll just select all of them instead of creating a null object or just kill them down. I actually wanted to skill them down. Kill them down and and I will then just come here where our admission ends to the point where our admission ends and then maybe at this point, maybe at 9 seconds. Let's just zoom in to 9 seconds. We already 9 seconds. Let's see 9 seconds and 12 frames. Let's just see 10 seconds. So our Animation ends here. Let's see 10 seconds. Come to 10 seconds, select everything and Control Shift D and then delete the xs and select all of these and Control D. Just bring them to the beginning here or to the end. I'll just position them all at the same point and then select all of these down, right click and go to time and time reverse. Time reverse layers, and I'll do Control K to my composition and make this 20 seconds. Scale this out. And here, let's play this and see. Yeah. That's basically what I wanted to create. I just shift my composition to work area. The next thing we could do maybe is just create a new adjustment layer and then maybe add the transform effect. Then maybe at this point, We could create a Q frame for skew and then just come a few frames in time, hit you to expose our Q frames and come a few frames in time and just play with our skew. Okay. So we get this. A Yeah, and then we just copy this, Control C, Control V, then select this, Control C, and then come with bits in time and Control V. We'll just go into the graph editor after making this eases into the graph editor and just do this. Yeah, so that's we get this effect. Yeah, I'll do s for these keyframes. Yeah. And basically, that's it for this one. That's it for this one. That's it for this exercise. And it's been a long one, but hopefully you've learned a lot. Yeah. And this will come to the end of this exercise, see you in the next one. Bye bye. 11. 11 Conclusion: Congratulations on completing the class. You've done an amazing job making it to the end of this class. Throughout the lessons, you learned how to create simple lettering admissions, how to build more complex lecturing motion, and how to enhance your admissions with extra creative details, style, and polish. You also completed a full dynamic lecturing admission project, building it in parts, and refining it until it felt more complete, expressive, and professional. These are powerful skills because lecturing admission is used everywhere title sequences, social media videos, motion graphics, brand videos, lyrics, videos, promos and creative visual content. And now you have a workflow you can continue practicing and building on. Before you move on, make sure you upload your class project to the project section. I genuinely love to see your work, and it's also exciting to see how different students interpret the same technique in their own creative way. This class is also part of a larger after effect series here on Skillshare. So if you haven't taken the previous classes yet, encourage you to go back and explore them. And if you're ready to keep growing, join me in the next class where we'll continue building your after effect skills one step at a time. Thank you so much for learning with me. Keep practicing, keep experimenting and keep creating motion that brings your ideas to life.