Animated Strokes in Adobe After Effects - Part One

1. Animated Strokes in After Effects - Introduction: Theo. Today I'm Page Martin and welcome to your lesson on animated strokes in after effects. What we're gonna be introducing here is an age old process for generating strokes along a mask path inside adobe after effects. Along the way, we'll show you how to convert text into masks and also how you can import in illustrator artwork so you can get some really fancy path so that you can get some fancy animated strokes. We'll also look at some of the options that you have and the whole stroke generation world , such as what you see in front of you here is kind of everything getting drawn and at once, but will also click a little button and show you how you can stroke things sequentially along the way or toward the end. We'll also talk a little bit about some three D positioning so you can get a little bit of depth in the animated strokes. And while this is just part one in later parts will also look at all the different options that you can use along with some of after effects. Other animation tools, along with generating of strokes so you can get some really fancy kind of motion graphics going on 2. Creating Masks in AE and Generating Animated Strokes: So the main tool that we're gonna be using across all of these lectures is found underneath the effect tool. What we're going to be doing is the effect generate stroke, and that is gonna be the main tool that we're going to use This. This has been around for a very long time in after effects. And in fact, it's one of those tools that it it only supports per channel color. So if you're using a 32 bit image, you're gonna it'll still work. It'll just generate little error. In fact, you can see up top there. I've got the stroke at it in its got that small little yellow thing that's reminding us that say, it's this only eight fibre channel. Why? Because it's very old, but it's also very effective. It is also Onley working on masks. You might be thinking, Hey, I could just select a shape and it'll just, ah, generate a stroke around the shape. The answer is no, it's not not like illustrator. This tool generates and animate strokes around masks. So before we can actually create this animation like what you saw in the intro, we're gonna have to take in, create some texts and convert those texts and a masks. Now, luckily, it's very easy to do in after facts. And in the second part of the lecture, I guess, would be the third. If I include the intro, I'll show you how to bring something in from illustrator Ah, and can save you, actually. Ah, lot of time. Plus in illustrator, you can do a lot more fancier work. But some of you may not like illustrator some of you might think to yourself I don't even know what a spell illustrator and that's absolutely OK. Like all teachers, I'm going to start by just the leading everything that I've done and I like starting from scratch. I'm gonna open up after effects and, ah, I am going to come in here and I'm going to say new composition pretty much here. I'm going to do it in HD, and that's only for rendering of being able to record on the screen. But you can do any size. You want your a four K person or if you're even early adopter and you want to go eight k great duration wise. I'm gonna keep this pretty short five seconds is going to be pretty much enough for this lecture. You're more than welcome to go longer if you wish gonna go ahead and click, OK, now what I am going to do is I'm gonna place a solid on the background of this screen because I'm gonna go with a white background and I'm just going to click in a solid. It's already set for White because I had it there before just clicking, OK, and I'm a lock that in place because I just want a white background. I'm also going to type some text on the screen because our three steps are gonna be two type some text, convert that text into masks, and then apply the stroke to the masks and then along the way, show you some of the options. So the text that I wrote before is just animating some text. You could just simply write some words, some text doesn't really matter. The choice of font here is really completely up to you. You're gonna find that if you have a fancier fault with a lot of saref edges on it, then you're gonna want ah finer brush size when we actually start playing around with brush sizes because you have control over the size of the animated brush. If you have, I want a big, bold font that you could get away with a fatter brush size. I'm just typing in some text. And if you've never used a textual in after effects before on the right hand side if the character windows not there you can always go to a window and look for should to be able to see character control. Six. If you're like shortcuts and I'm gonna make this just a little bit bigger, how big? I'm gonna go ahead and make this 350 and I'm going to increase the size of my letting or spacing between my text. And I'm pretty much OK. I don't have to rearrange the size of my box or anything like that. That's not gonna matter too much. What I am going to dio is convert this text a masks. Now. Most important thing you need to be aware of is that converting something the masks is very much like expanding in illustrator. Once you convert something to a mask, you can't type anymore. I mean, you might think Well, wait a sec. Could I do I'm gonna lose this layer and the interest? No, it will retain the layer, so if you make a spelling error, you can fix it, but then you'll have to convert it to mask again. So just note that this is a destructive edit. Just make sure you have your layers selected. It's done underneath layer and auto trace, and you're thinking, Hey, way to say, what does that sound like? Image tracing. We're live tracing. And the answer is, Yeah, just like illustrator. If I keep bringing that up, I'm going to go ahead and just click it and it says, Work on the current frame. That's absolutely fine. Channel after channel, Absolutely fine. You can play around with the threshold and the tolerance, especially if you have a pretty big Sarah font or some very intricate font shapes. You might want to play around with the tolerance, especially the minimum area. The corn around this for me since I just got a nice, big bold think. I'm just gonna go ahead and say, Okay, now the masks that are created are on their brand new, very own layer that says auto traced and then some tax years might not say some text might just says some text because that was the name of the layer. The actual text layer is still there. In fact, if I turn off the auto trace layer, you'll see it's behind there. I'm gonna actually turn off the some text. I'm a locket, so it's just there from the some text back on the auto. Trace some text. It will create a ah shape, and they're vector tools. So if you come in here with the A road tool, you can, you know, tweet him, I guess if you wanted to, but they're vector shapes. They are no longer you can't type on him. It's ah, when I say it's a destructive edit, my men, it's a destructive edit like you no longer have text editing capability. It's not destructive, like it doesn't convert it to rash a graphic. That would be weird that he wouldn't do any three d in it. Once we have the mask, then the fund starts. Here is how the generation of the stroke happens. We're going to come up here to effect. We still have the auto traced layer selected by the way, effect generate stroke. And when you add it on the effect controls should show up, it won't see any difference. But the important thing that we have to note is that it has pathways to either choose an individual mask. You've got the ability to choose the 11 masks that might make your you might have made 20 or I'm going to check all masks. So that way it generates all masks now brush, size and color and hardness and opacity. That's gonna be kind of up to your speed. But I have a white background, so I don't want white brush colors. I'm gonna go ahead and choose a nice black dark color. I'm gonna increase the brush size to be something kind of big, like seven or eight and, um, the hardness I'll go and leave it 79 find with that. Now, when you do this, you're gonna find that you'll see the stroke automatically show up. It's not animated yet because we haven't given it any key frames, but it should appear, and I'm gonna go and skipped down the very bottom where says paint style, you have the ability to paint on the original image. Or you could do a transparency or you can reveal an original image. These or something that you could play around with a little bit later depend upon what you want to accomplish. Especially if you go with a different color background. This might be where you want to do. Just by. I am want to talk about the key frames right now because we've done the text we converted him to mask. So now we're gonna apply the effect. The effect of the generation of the stroke happens by setting a starting position and ending position of the stroke. Watch how I'm going to turn this ending position back to 50% and you'll see that what it does is it kind of strokes itself around the just the e. And if you're thinking to yourself, Hey, hey, I don't really like this selected that way. Can I make it so that I can't see it? Well, if you just click away from it somewhere so that you don't have this layer selected, the masks will no longer be selected. And then you could actually just click on play instead of typing. I'm gonna hold my cursor on top of the end, and I'm just going to drag it so you can see the masks will show up for a little bit, but then assumes you let up on the mouse and click somewhere. Then you could see what it looks like. Animating is a simple as just playing around with a beginning or unending position. I'm only gonna key frame the end. That's what I'm gonna do is I'm gonna start it with the value of zero, and I'm gonna put a key frame. My playback head is at zero. I'm going to set a ending value of zero, and I'm gonna turn on this stopwatch to give myself a key frame. I'm gonna pull my timeline or my playback head somewhere up to about the three mark. That's the three second mark that is. And then with my stopwatch still on, I'm gonna change my value and set that to 100%. I couldn't type that in. If you want to see what it looks like, you're gonna expand your layers and go into the effects and open up the stroke tab and you can see that there are your two key frames. Now I'm hoping that you're not that much of a beginner, that you don't know what aftereffects key frames are. If you are, my suggestion would be to stop this lecture off your your little lost and go back and do some research on what a key frame is. But at this point, under my preview tab, I can just go ahead and hit, preview and play. I want to make sure nothing selected so I don't have the masking outlines. And then I could see my text being drawn Now. Right now, this is set to be drawn sequentially. The problem is, it's not drawing it sequentially. It's drawing S O M E t. And then it has a Tina doesn't do the e and the X. Why? Because the problem that you run into when you generate the masks inside aftereffects is it doesn't always put them in order. In fact, when I was playing around with this lecture when I was doing some initial things, man, I had some text it. It was so far out of order. It's crazy. So what is the order? It says, stroke sequentially. It's not sequentially. Based upon the letters it sequentially based upon the masks. And that is where I'm going to close up the effects tab and I'm gonna open up the mask and reveal that I have 11 masks. Now that I'm gonna click on each mass so you can see that the S does sort of get highlighted. When I click in the 1st 1 the O sort of gets highlighted. Ah, as does the M and E. And they're very subtle highlights. You just see that the dots kind of get selected When I get down to the tea, that's fine. But when I click on mask number eight that IHS not the right one mass number eight is purple. The oneness in purple is this ending t. So that's in the wrong spot. I got a mask number 11 and that's the X. And so what happens? This is it needs to get pulled down. How do you rearrange the order of the masks? You simply click on a mask, hold down the mouse left mouse button and just drag to where you think it needs to be. Um, the the the E seems to be okay, and I seem to think that's good now. When I rearranged the order, the T I just clicked and I drug it until it kind of went into certain order. Why doesn't it go in order? The answer is, I don't know. But in the next video, when we import from Illustrator, you'll find that we won't have any of those problems. All right, But rearranging that order gives us the ability to get that sequential stroke. And if I were to just Teoh, go ahead and play here, you'll see that now it gets drawn in order. Now you're also thinking to yourself, Okay, I only animated Thea the end. Could I also animate this start? The answer is sure. If I wanted to animate the start, let's say that it's somewhere around here. I'll give a stopwatch so that instead of instead of, ah, starting at, ah, well will start at zero. But there's somewhere out here it the very end. I'm gonna have it at 100% so you can see that it kind of un draws itself. And that is the difference between keep framing the start and keep framing the end. And that's something that you could just play around with this bed upon what you want. I went a little slow right there because my rams got to catch up. No, I stopped to play back. And Ah, the start is not something that you have to dio. And if you want to get rid of the key frames, you just turn off the stopwatch and set it back to zero and then you'll be totally fine. Now. You might also not want a stroke sequentially, because you might not. You know what? You just wanted to show up, and this is where you can just have it kind of drawn to place. And if it's going to slow for you, then just rearrange the position of the key frames. The beautiful thing about the whole starting stop is that you could just hide, click on one of those key frames and you could just drag it to the left and you can have a draw nice and really fast, especially if you're doing some text. And you're thinking, Is that how they did the title for stranger things? Maybe, Maybe not. But this is one of those, like little tools that at this point, you kind of want to play a little bit. So we're going to do in the next section is that we're going to do the exact same thing. Only were an import in from illustrator. 3. Converting Adobe Illustrator artwork to AE Masks: Welcome back, which you see in front of you. Here is a nice little twirl shape that came straight. Have Adobe Illustrator. It is a shape that I just simply drew with a brush tool so I can get a double sided path. That's how come it looks like it's drawing once than drawing a second time, and I just played a little twirl to it, and I then brought it into aftereffects as a mask, and that's what we're going to be doing in this particular section. So let me go ahead and ah is at that layer out. Bohm. I still have my text there. In fact, it probably pause playback. I sell in my text that I sitting there. I just turn them off because I'm gonna keep that for a little bit later. Why? Because I'm gonna use that in the fourth section in order to bring something in from Illustrator. The first thing you have to know is you have to draw something an illustrator illustrator. When you create a shape, you could just copy control C and paste it directly into after effects, and as long as it's pasted into a solid layer, it will paste in is a mask. Allow me to show you that I'm gonna go ahead and I'm gonna create in your solid layer And at this time, for just Because let's go ahead and make it slightly different color. I'm gonna go for kind of Ah, ready, Brown. And I'm gonna go ahead and click, OK? And it's going to stay on top is absolutely fine. But what they called it medium grey red still looks like I don't know, Brick and Illustrator. I have this shape that I made and I'll show you how I did that a little bit later, but I'm just gonna copy it, control, See on go into after effects. And with the solid that is selected, I am going to control V. If you're on a Mac command. Um, sorry. When I say control, I am on a PC. Anyway, my point here is that as soon as I pasted that shape from Illustrator into after effects onto an aftereffect solid, it became a mask. And if I were to turn off the white background, you'll see that it also got rid of the color of the brown. Wow. It's like all gone it's not there anymore because it is simply a mask shape. Once you get a shape in there, it's still a vector. Which means you can come in here and you can use the transform tool and you conceal up. Ah, you could see all the vector curves right in there and fill up the entire screen if you feel like it. Ah, the process I'm gonna turn the white back on is exactly the same as the previous lecture. Make sure that your layer with your mask is selected, go up to the effect generate stroke. And I am going to go ahead and have Let's put the bready Brownback in there because I'm thinking myself. I want my brickwork. And so I'm gonna stick with that color I'm gonna go with, like, five and ah, just so that it's visually there. And I'm going to set the end to be zero, and I'm gonna key frame the end noticed. My playback marker is zero and I'm key framing it as zero. And then sometime toward the middle or end of this one, I will change that ending value to be 100% and then all hit rewind and play. And, uh, and as that keeps going, we'll see that. There we go. Now. This is a prime example of where the paint style comes into play. You'll notice that it it's like you think of yourself here. Wait a sec, the lines already there. That's because it's painting on the original image. The original image waas indeed, that medium grey red solid and my mask that I pulled from Illustrator has some thickness to it. If you were to take a look in Illustrator and take a peek in that it has some thickness to it. So uh, so when I painted it or when I pasted it over ah was actually done in a brush in Illustrator. That game was some thickness bus it, even though it's even though I could turn off the stroke, Um, you'll still see that because it's still a mask and it's reviewing part of that background there that's doing that because it's on the original image. I'm gonna turn this back on and assure you the difference between ah, multiple items if I wanted to do something on a transparent Ah and I were to go ahead and hit play that's where, then the color of the brush comes into play, and that's where, like if you want to set it, that means your background is transparent, so there's nothing coming through on the background. And again, it's playing twice because it's got an inside and an outside part of the stroke. Now, if I were to want to change this to be a reveal of the original image, let me go ahead and rewind this. What it will do is it will. It will pull the color not from the stroke, but it will pull the color from the background. In fact, just show you I'll go and I'll change the color of the strokes like yellow. Just so it's something completely different. But since it's set to reveal, the original image is going to reveal the color of the solid. And when I play that boom there, get my Brown now. The interesting thing about the whole reveal is that it's actually following along the stroke, and it's not doubling up. The stroke it does is not taking the inside and the outside of that brush stroke that it came from. Illustrator. It's on Lee just reviewing what is inside the brush. And so you don't get the double edge pieces because you're revealing the background. It doesn't really have anything to do with the animated stroke other than the animated stroke is making something show up. This is a great way to make it look like somebody's doing some handwriting. If you were ever toe haven't image, that's hand written and you want to draw Ah, a mask around that when we get into some of the more advanced in part two, I'm going to actually do some stuff on hand, drawing in a mask. Now, what I wanted to do is go ahead and zap out this layer that I made. Uh, I'm gonna go into illustrator, open that up and I'm going to close this up and let's start kind of again from scratch. But I want to talk about the difference between a brush stroke, an illustrator and a pencil stroke and illustrators. I'm gonna go ahead and create new and I want to match what I have in after effects. If I'm using ah HD, I want to choose the HD option. If I am ah, taking in using ah four cake. I want to type something. I probably hand type it in. Definitely going to stick with the horizontal. Now, could you go with a smaller and just in large theme? Ask. And the answer is Yeah, but if you do the reveal of the image, you're actually enlarging the background and that could get some. Jaggi is in there, so just match. It's a lot easier. You might not like the HD TV because it ends up having, ah, clear background. Um and so you know some of the options there. I'm gonna go ahead and click on more settings, and I always turn the transparency off because, yeah, I'm okay. I'm gonna hit, create document. And then I got a white background and, ah, I'm gonna fit in the screen so we can see the whole thing. And then I just drew, I went, Here's what I did. I went to the paintbrush and I just drew a line. And then I went to be totally tool, which is this one, and double clicked it and I typed in a value I changed the with size to something like 400 on the twirl. And so that when I came into made a twirl? Oh, no, actually, I think it went a lot bigger than that. Probably must went 600. And in case you're wondering what I'm doing that size proper shit. Close it up to go, teacher. Ah, that size that dimension is the outer edges of the twirl. And so this is your max size. And if you've never made a twirl before Ah, the twirl tool means you just goto a path and click and hold down with the left mouse button and it just worlds for you. Okay? Can you make multiple ones? Yeah, you can. And if you do it like at the edge, uh, kind of gives you more interesting twirls, all right? And the important thing here I'm gonna zoom in on this is that this is done with a brush. And so even though it looks like it has just a single vector outline, it actually has some thickness to the brush. That's very important, because when I copied this from Illustrator and I go into after effects and I make that new solid and I go ahead and paste it down, what's gonna happen is that when a zoom in to the mask. I'm going to see an inside and an outside of the path. So when you copy something from illustrator, it like, expands the shape. That's what treats it is an inside and an outside. And that's pretty important to note that when you're doing something in brushwork or like if you were to type something in illustrator, if you were to do something in text and bring it over, Um, it does the inside the outside. Of course, you wanted to do the text of the way that it could lose the holes and my apologies to any of you font fanatics out there for using the word hole because, you know, they're called bowls and ah, loops. And there's probably something else. I'm not a font fanatic now. Well, first minute sets us back to fit in the screen, and again, the process has always effect generate stroke. And once you start playing around with this, you know, you might find that Hey, I just want to play around with a little bit of yellow and I like the yellow and I'm thinking to myself, I'm gonna go to the end is key Frame that and zat that out and and, uh, good and a key frame. And I'm thinking to myself, Let's do on transparent. See what that looks like on I'm thinking Bigger brush size, maybe, I don't know. Try 13. Super, super huge. And yeah, that lost. I don't like 13. Ah, slow to it's okay, but I'm getting the double line again. How do we not get the double line? Well, let's go back to Illustrator an illustrator. I am going to not draw with the brush tool. I'm going to draw with the pen tool. Or I could use the pencil, but mostly I'm gonna use the pen. I'm gonna go ahead and make sure that this is selected and gone. I'm gonna come in here to the pen tool, and I'm just going to click and click and click and click and click and click and click and click and click and click. And sometimes I get some points that sometimes got some corners and sometimes they're just gonna call it good and just stop right there and turn that tool off. This is a path that I created by using the pencil. It is a terrible looking path, but it is good enough for what we're gonna dio. Yeah, I could come in here and I could play. I could, you know, play with a warp tool. And I could make I would like to make this all curvy and everything like that because, you know, I just want to adjust all my points, my curves and I want to take a look prettier. And it's just not gonna happen because it's just a random line. I'm going to copy it. Select it, Command, See your control. See, I'm gonna go back into after effects. I am. How do we get rid of a mask that I pasted on a solid easy? Open up the layer. Find the mask. Just hit the delete key. Boehm, it's gone. Now you're thinking Hey, wait a sec. My mask is my layer is not there. Will remember We got the paint style still attached to that. So it's set on transparent. I could put it back to the original and the pacing thing. There we go. If you were to zoom in on this, such as I would come up here and say 40%. You'll see that there are no double lines. How come? Because this mask is just a single path. It's not expanded. Well, I mean, I guess you could call it expanded, but it was just a vector shape and eso in the case of not getting or not wanting the double lines, then you'd want to make sure that you weren't using the brush tool you were using the either the pen troll or the pencil tool. Okay. And that pretty riches about it from playing around with the illustrator thing. If you were to paste something that already had the stroke attached to it Ah, you will have to reset the path. So in my case, I'm just going to go with the path and there. It's already animated because I had the key frame in their, um, if you're gonna want to play with something extra of other than some I didn't cover, try some text and paste that in. Although you're gonna find with text, you're gonna get multiple masks, and the fun part about that is that they will already be in order. So if you were to paste some text down in here, you don't have to worry about rearranging the mask order Because from illustrator, they remember the order. I don't know why they don't from after fix. So we're gonna go on and this section in the next section we're gonna talk about how you can introduce a little bit of three B into your animations. 4. Animated Strokes in AE with 3D Layers: since all good lessons should have some sort of a recap. And hey, what can I do next kind of step? That's what we're gonna do right now. So what you see in front of you here is the some text layer that I had saved along with the yellow kinda curlicue. And you'll notice that the some text has the white kind of covering the yellow curlicue. That's because on the auto, tres also traced some text layer. I have it set on original image I looked at it is on transparent and, I don't know, just makes it a little harder to read. Ah, but you know that strictly kind of up to you. So one of the options that you have is taken and converting your layers into three B and instead of having something, it's very flat. Like what this is right now you can give something with some depth. And so what I'm gonna do here is just in the couple last couple minutes of this lesson just show you some options. And one of the easiest options is to taking create some sort of a floor on that you can do with your with your images. So I'm going to ah, scroll my playback Head up to the end And what I'm gonna do is I'm gonna take the yellow and I'm gonna turn that into a three d shape. Sorry, a three d layer and I'm gonna flatten it out to make it look like the floor or the base of the some text layer on it Does. It works like this. I'm going to go to my medium gray And the first thing I'm going to do is I'm gonna knock. I didn't want to double click it my bad on that one. I wanted to rename it And so, uh so when I when I want a rename and I'm gonna right click rename Ah, and I'm just gonna call this Curly because that way I know what it is. And it's good way to name your layers I'm gonna turn curly into a three d layer So I have the ability to do some three d transformation onto it. I'm clicking the little icon that's right below the three d box and I'm gonna open up the transform tap And what I'm gonna do is I'm gonna make this lay flat. So I'm gonna take the X rotation and I'm gonna set that not quite to 90 degrees. I'm just going to kind of turn it so it's kind of flat. I'm also going to take the Y position and I'm gonna lower it down so that it's kind of like , ah, floor and I kind of want to set it like that. Now here's the thing. You have to remember that if you're working in three D, you don't want to be Have some layer Street and some layers, not three D if you want him to kind of look like they belong with each other. In fact, you'll notice that when I put that in there, I'm thinking I might want to have a little bit of three d there. So it's not a bad idea just simply to turn the three on your layers. You might not use three D, but that you never know. But what I have now is I have some nice little perspective, and I have some depth going on in my image that I didn't have before. And if you've never played around with the three D options Ah, it's X Y Z in terms of your position scale. Same. All of the scale right now is all tied together. Orientation. The use are simply percentages of rotation. If I were to change the A Y rotation there, I could get a little more of ah, different kind of perspective. I'm not going to I'm gonna go ahead, keep those zero. Because again, I just want this to look like a floor so I could do the exact same rotation here underneath the X that you get with the orientation. If I could come up here with this orientation, you'll see that it kind of does exact same thing. Um, why? Because why are there two different ones? I don't know. I didn't write the program. Ah, I just know that pretty much does about the same thing. And I'm pretty sure that there's probably somebody out there that says, No, it doesn't. That's OK. I'm gonna increase the scale. It's just a little teeny bit. I don't want to increase it too much because this system, that's just a solid color. But I'm thinking to myself, not a bad idea to go ahead and maybe move it back a little bit so I don't really want it that far. Forwards willing to change its position a little bit. I'm gonna take the Z value and I'm gonna send it backwards because X, y and Z a Z is kind of the front and back. And so it's just like the Samos scale. I suppose you could just scale and call it good. Uhm, I'm going to take my some text layer and just leave it flat right there. And I'm the See what this looks like. I'm gonna go ahead and hit play and see if I like it a little bit better now I still got the reveal on. Um I don't have it set on transparent on the text. I have that on the some text. Wanna have it on the original image, But I'm thinking that's not bad. I might like that little bit better. Could I turn this a little bit? Mawr? The answer is sure. Be careful, though, about too much perspective. Ah, the smart thing would be is if you really wanted to be a real floor, a negative 90 year positive 90 degrees and then you just kind of adjust it now another way to address says you're serious little handles that can give you the ability to do a little bit of adjustment. And that could give you more of, ah, realistic kind of floor looking on. But I cheat a little bit instead of going on minus native degrees. I just did, like a minus 70 something degrees and that gave me a little more the floor kind of visual there. I'm gonna go ahead, send this back a little bit ways, and I'm gonna take some text opening up. I'm just going to do a little teeny rotation on the why. Just a little turn like that. I don't want it to be too bad, but I'm also going to take and move it a little bit. So I got a little bit of lead room going on. My changes positioning, and I'm gonna put it a little bit over to the right. That way. If I were to want to add something here on the left hand, right hand side of my screen, I actually said was movement it to the right of his moving it to the left. Yeah, I know. Ah, but but that way I got a little bit of depth going on in the screen, and that is a whole different game changer for when you start adding in multiple pieces and in later parts when this comes around in, whenever I get to the next section, um, it is gonna have some animation going on it, so you actually be able to animate those pieces. But for right now, that's really gonna be about it. So I'm gonna say, Hey, load up some your illustrator files copied, do some copy and pasting into some solids, Play around with your your generation stroke generation tool and have fun on your projects .