Animating Simple Text, Shapes, and Patterns: After Effects Fundamentals

1. Intro Video: Hi, I'm Martin. In this class, I'll be teaching you how to animate phone graphics just like this. [MUSIC] For our first project, you will design your own phone graphics and you will animate them using the technique I'll teach you, such as masking, scaling, offset paths, pattern making, text animator, echo and many more. This class is suitable for graphic designers or illustrators that want to animate their own design. You don't need any After Effects experience, but you need to know a little bit of illustrators. Well, I'll see you in class. 2. File Preparation: [MUSIC] We are here in Illustrator. To prepare your Adobe Illustrator file for animation, the things that you need to pay attention to is to separate all the layers that you're planning to animate separately. I have separated all the files here, and this is the file that you can download in the project folder. Here is our phone, the phone and then this is the thumb, so you see I have separated everything that I want to animate separately as a different layer. After Effects can read the layer, yes, this one is the heart, this one is the black box, smiley. I want to animate the smiley face, and circle differently, that's why I need to separate them so I call it smiley red face, and make sure you name all the layers otherwise it will get confusing in After Effects. This is the circle, this is the green face, smiley green, smiley pink face, smiley pink, this is the green bar, white plate, here's the love text, the yellow plate, command, the white bubble text, green plate. Now, this one, usually when we want to animate, we need to release the clipping mask if there's something that has clipping mask, but for this particular case, we will actually recreate everything in After Effects. I just need a guide of how it looks like, therefore, I don't need to release the clipping mask. This one I put it in a one layer called follow, red plate, bookmark, bookmark white plate. I separated all the ribbons separately because I want to animate them individually, and the black plate and then to add text, the yellow plate, this your text, and then the blue bottom plate. Those are all our layers. One thing that you also should take note is this phone, this one is a bitmap image, is a PNG, maybe it's a better practice to embed the link, if you don't know how to do that you can go to Window, and then links. I have embed this one but if you haven't you can select on the phone or whatever, a PNG assets or bitmap assets, and you can go here. If you haven't embed, the option will be embed, you can just embed, and then it will be embedded in your AI file. The next thing is to save, you can go to File, Save As, therefore this one, I will just name it Masking UI_AE_02. I usually put AE as a coding name for my naming, this means that this file we will be used for animation. I'll just click "Save", make sure you take this create PDF Compatible File, otherwise, After Effect will not be able to read your file, and then you can just click "Okay" and then see you in After Effects. 3. Design Adaptation: [MUSIC] Now that your file is ready for animation, there are few things that you can do. First, if you want to use the design provided, this design that I have separated the layers, you can use this design to directly animate in after effects, or the other way, the one that I actually recommend you to do is to recreate your own design. You can recreate your own design in two ways. First is to just adapt this design. What I mean by adapt is you can just change the text to other texts that you want. Let's say this is becoming your name or this becoming some other words. Just change the words and you can change just the icon, but you can maintain all the grid system here. You can change the color to your own color palette, and yes, that's it, and you can use the file. The last method is to completely recreate all of this. This may be take more time for you. It will be great because you will have your own original design. But if you want to do that, what I recommend you to do is make sure you maintain there is at least one text layer like this. There's also another text layer that is stroke base because we will try animating the line in, and also keep at least two icons like this or like this. Maybe it becomes star or maybe become either icon that you want. Also make one pattern, at least simple pattern based on one element because we will animate pattern as well. The last one is the duplicated element, which is like echo now because we will try to explore the effect called echo to make it duplicated layers. Make sure your design have all of those elements and you're good to go. Don't forget to separate all the layers like this, and you'll be ready for animation. [MUSIC] 4. Folder Management: [MUSIC] Before we go into After Effects, there is one very important thing to know, which is folder management for After Effects. After Effects is using borrowing system. That means it will link all the assets into their own folder. Therefore, if you keep your assets in different folder, it will actually become a missing link. The way you organize your files should be like this. This is your project folder. You can name it whatever you want and you should do it before you even create After Effects file. Otherwise, after After Effects linking all the files, it will become missing link if you change the naming. Make sure you name properly this name, whatever you want. My project is called Masking UI. Inside this folder, you will create bunch of folder like this. This is your AI file. If you have Photoshop file, you will create another folder called Photoshop. This is the file that we created earlier, Masking UI_AE_01, and is the original. Whatever AE file that After Effects file that you will save later on, you will save in this folder. This will be if you have any live-action footage from your camera, you can put it here. If you have any JPEG you can put here. If you have any PNG, you can put here. If you have reference, you can create reference folder and so on. Output is for your rendered file. You can keep all your render file here. Makes sure everything is inside the same folder. If by any chance you have to change computer, you just need to bring this folder, the main folder, and nothing will be missing link. The next is After Effects. 5. Import and AE navigation: [MUSIC] If this is the first time you open your After Effects, you will see welcoming window like this. It might be empty for you, for me because I have opened many different files before, so I will see my recent files. I will ignore this at the moment and start a new project. If you don't see the same like mine, actually, we will go to Window Workspace. I'm using the standard workspace. In After Effects you can actually customize how you want to see your window. If you accidentally move something like this, for example, or you accidentally close something like this, you can actually reset all of these by going to Window Workspace, reset standard to saved layout and it will go back to how the factory setting is. Let's import our AI file. This is our project library and import our file here. There are many ways to import. You can just double-click here and it will open this and I will go to my Masking UI folder, go to my AI, go to this file. Don't double-click this file. What do you want to do is actually make sure this is composition retained size. If you choose "Footage", it will only select one layer of this file. What you want is Composition Retain Layer Size. Let's just do this. You can ignore the last one for now. Just this one and then click "Open". It will give you this. This is called composition. If we double-click this, you will see all of the layers that we said earlier in our Illustrator. You will see this folder as well. It has all the layers that we need, but it's already embedded inside this one. This is your preview window. Wherever you animate, you will see the preview here. This is your timeline window, you can see all the seconds here. You need to set the duration first of all. If you see now the duration usually we will follow the last file that you did. Previously I did something with 16 seconds, so it's on 16 second. The way you adjust this is by pressing "Command K" or control K on Windows. Command K will open composition settings but if you don't remember this shortcut, you can also go to Composition, composition settings, see Command K. Then here we will see that I have set this as 1080 by 1080, which is an Instagram square ratio. We will just maintain that as it is. Make sure this is square pixels. We will use frame rate 30 frame per second for this project. This is the duration. Let me cancel this first. Sometimes you don't see this duration as a second like this. If I press "Command" or "Control" on Windows, it will become frame. With this setup if I press "Command K," What do you see here is also a frame. Usually we want to use seconds rather than frame because it's more difficult to count like 30, 31 second is the difference. I will not want to do this, I will cancel that and again, I will come here and press command. They become seconds again. I'm okay now. Then I think I will change this duration to 10. I'm not sure yet how is our iteration, but for the starting point, I'll just make it 10 and click "Okay". There are a bunch of tools here. You see this hand tool. You can actually press space bar for that. This can do this. You can also use the hand tool here. You can scroll down and up here. Then zoom. Zoom tool is to zoom here. You can hold Alt to zoom out. You can also use the middle mouse scroll for this one, or you can also use this fit or you can make it bigger. I will just use fit for now. This is quite important button. This is a setting for your animation. Full will give you full resolution, but it will use more resources. It will be slower on your system. If you animate and then it will come like you and you animate, you can change this to half. If it's still laggy you can even reduce the third or a quarter. This will not affect the rendering. The rendering will use the highest resolution. In the timeline, you can also zoom in and zoom out. What do you need to know about this timeline is if you see this 0100f, this is one second. Since we are using 30 frames per second, within one second you will see 30 frames. This is 15 frames. You can zoom in and zoom out this timeline by using this slide. You see when I zoom in, it shows more like five frames, 10 frames, 15 frames, 20 frames, 25, and this one second. On 2 seconds. You can use this bar or you can also use shortcut plus or minus. If you press minus to zoom out and if press plus it will zoom in. The next thing you want to do is to save this file. We will go to File, save as, and go to Masking AE. We will save in AE folder, name this Masking_01. You can name it whatever you want, but it's a good practice to get number 01 and let's animate. 6. Hue Saturation: The first thing I wanted to do is to color my phone. At the moment the color is pink and it's very similar to the background. I want to change the color. This is the phone layer. I will select it and I will go to this Effects and Presets. If you don't see this, you can always go to Window find Effects and Presets and make sure it's ticked. I will go here and I will type hue and then take Color Correction, Hue/Saturation. If you don't see this, you can also go to Effect. It's grayed out because we need to go here, select, and then go to Effect, find Color Correction, and Hue/Saturation. This is the effect that we want. We can just double-click while selecting this layer, or we can also drag this to our layer. By the time you drag that, it will have a parameter here for the hue/saturation and this will only affect this layer. I want to change the master hue of this phone by dragging something like this, then you can see it's changing. You can change it to whatever you want. I actually want to find something like a dark red maybe. Maybe I will reduce the lightness a little bit and then maybe increase the saturation. Make it look like this. Let's change the zooming to fit. I just want it to be dark red like this. You can change it to whatever you like. 7. Layer Color Coding: [MUSIC] Now we want to animate starting from the back plate of each of the elements. To do that, first of all, we will hide all the elements first, so you will only see all the plates. Let's find all of them. Actually, I will try to color code them first so it's easier to see. This thumb, like and blue box top, let's color the layer to blue. Then I will hide the thumb and like. In this heart and black box they are together so I will color them red and then I will hide the heart. I will actually lock this phone so I don't accidentally move it. Then this smiley, there are a lot of them. Let's color them yellow. You can color them anything you want. I will hide all the smiley face. This white plate, I think is supposed to be yellow as well. This green bar I will just color it green. Love text and the yellow plate, this one is supposed to be yellow, but let's just color it orange, and then hide the love. Then this command text and the bubble and the green in the middle, let's just color it purple. Let's hide these too. Go to follow, hide the follow. Color both of them red. This bookmark, just leave the color like this. If you accidentally double-click something, it will open this box, this preview window which is specifically to this layer, you can always come back here, click on this tab and you will go back to your composition tab. All this ribbon, I will actually cover them fuchsia, which is a pink. This bookmark text I will hide them. Hide this up, and both of these I will color them yellow. These two will be blue and the background will be fuchsia. I will lock the background so we don't accidentally move them. This is the preparation to animate each of them. 8. Rectangular Mask: The first technique that I want to introduce you is masking. I want to animate this blue plate. Let's go up blue box top, and then I will zoom. Press "z", zoom. Press "v" to go back to this tool, this is the default tool. First of all, you have to select this layer. You will go to this rectangular tool, click it, and then let's draw a mask like this. You see by the time I draw it's actually masking my layer, and what we want to do is to animate this from here to [NOISE] something like that. I will start from here which is the end position. You see my layer by the time I will use that mask, it will add a mask here. I want to open this mask and then set a key frame on this stopwatch on the Mask Path. Click here, you will create a diamond shape which is called key frame and I want to drag this diamond shape to the side. At the beginning I want to make this shape. Let's double-click this layer. Press "v" again, double-click this layer. By the way if you cannot see this mask, we can always change the color by clicking here and you can change it to whatever color that is more visible; dark red or something. In order for you to change this, you can double-click exactly at the mask. Double-click like this. If you double-click, it will create this bounding box and you can drag like this. If you hold "Shift" and then click on one of them you can actually change this and just change one of the corner, or if you hold "Shift" you can adjust both of the masks. I will undo them. What I want is to take these two and I will direct holding "Shift". I will direct to the left, something like this. I will take care and I will press "Space bar" to preview my animation, so you see something like this. The speed is determined by the position of this key frame, so if you think this is too slow you can actually move it forward and you can see it become faster. If it's too fast, you can bring like this and your mask will be very slow. This is how you adjust the timing. Actually, I want to swing our render region. When we play like this; press "Space bar", it'll keep on playing until 10 seconds before it loop back to the beginning. I want to just swing this render region. Let's say we said like this, if you render this column, it will be just rendering this region. You'll see what happened if I swing like this if I press "Space bar". When it reach this, it will lope back. This is quite useful for judging your animation, so I think it's too slow at the moment and we'll move it to here. Let me see. I think it's okay. You see this animation is linear, this is called linear key frame, is the diamond. Linear means there is no slowing down or speeding up in the animation and it's very flat animation. Let's change this into Easy Ease, so I will select both of these and then I will right-click, go to Keyframe Assistant, and then I will put Easy Ease. The shortcut is F9, so by the time I click that it will give me looks like this. This means it will slow down, picking up speed, and then it will slow down again. If I play this maybe it's not very noticeable, let me just make it like this. If I want to show this more clearly to you, maybe I will use this Graph Editor and I click this. If you see, this is the trajectory of our animation. If I make something like this, I will make it more extreme both sides like this. Now if I play the animation, you should see that it's actually slow down at the beginning and then it will pick up speed. This is the peak of the speed, and then it will slow down again. See, something like that. This is Easy Ease, but I don't want it to be that extreme so I will actually go back here. I will select both of my key frame again and select "Command", hold Command". Click on the key frame, it will reset back to the original state which is linear. I will just select both of them and then I will just right-click, use Easy Ease. This is the default Easy Ease. This is what we want to do for now; something like that, but I think I will make it like this. 9. Transform Properties and Circular Mask: Now, I want to animate this black box. Let's go to the black box. I want to use scale. This is the basic of animation. If you open any layer that you bring in from illustrator, you will see a transform properties. This is position. You can animate position. This is x position, this is y position like that. You can also click and drag to move it. This is scale. We can make it bigger or smaller, and rotation. Opacity is transparency. I want to scale. This is anchor point. If you see this anchor point. Anchor point is where the axis of the object is. If the anchor point is on the center, if I rotate, it will rotate from the middle. But let's say I use this tool. This is anchor point tool and the shortcut is Y. If I move this by holding command, I will lock it. If I move it to the bottom left. If I rotate now, it will rotate from that corner, so this is anchor point. I want to scale from this corner. Let's take that holding command, lock it to the top left, and then at the beginning, press F again for default tool. Go to scale, set the keyframe on the scale, and again, this is N position, so I will move it to the right and change the number to zero. Let's play this. It will animate like that. Again, it's very slow, so maybe I will make it half the speed, and then I will select both of this and then right click. Keyframe assistant, make it easy ease. Let's take our animation. Actually, I want the blue to animate first somewhere that I will animate in, then the black box will animate in. I will slide this maybe here and then let's see. They're not coming in at the same time. Let us use a masking again. Select white plate, select this rectangle tool, make a mask. Go to open this keyframe here. This is N position. Again, I will move it somewhere there. Then I will press V, double click on this mask, and then move it like this. Select both of them, right click, keyframe assistant, easy ease. Then I will trim the beginning of this layer so we know that it starts from here. Let's see the animation. I think it's a bit late. Let's start from here. Let's see if it start from the beginning. Let's animate this green bar, and I want to animate them one by one. The green bar is here. I'll zoom in now. Holding spacebar again to navigate, press V while selecting green bar. I will select my mask. I will draw unmask like this, and then here in the green bar, I will actually duplicate this mask a few times. I will press Command D to duplicate, and then I will move it to the side like this. Then I will press Command D again, move it to the side. Press Command D again, move it to the side. Press Command D. It doesn't have to be too precise. I have all of them, and then now, I want to open each of them and set a keyframe on the mask as path. You will start to see that there's tons of settings here that we don't really need to see. If I go here and then I press U, so I cut U, it will open just the keyframes there we have set. We don't need to see either parameter that we don't want to see. This is the N position. Again, I will move them somewhere here. I will select all of these and then move it up like this. Move them all like this, and then trim this. If we play this now, it will animate together. But what we can do is, let me make it quicker, I will select all of them, move it slightly here, and then let's see. Now, they animate at different timing. Complicated animations if you observe most of them, usually they consists of simple animation, but they animate in the different timing. We will use this concept for the whole project, and you will keep on seeing later the power of staggering timeline like this. What I want to do is to make it easy ease. Let's see our animation. I think we need to move it earlier. Maybe something like this. Let's see, fit. Don't forget to save, Command S. I want to animate this and I will go to this mask and ellipse tool. I will use this ellipse this time. Make sure you select this. Then you will click and draw. Hold Alt and Shift to make it proportional like this. Let's just put it here. Press V again, double click, and then you just readjust little bit so it's roughly in the middle. You can use arrow key to slowly make it somewhere in the middle. We want to animate this, expanding in the circular manners. Let's go to the mask, open this mask, and we'll animate the mask expansion. If I drag like this, you can see that it will animate something like this. Let's get a keyframe. Click keyframe here, and enlarge this until it covers the whole thing so this will be our final position. Move this final position away to 15 frame maybe. Let's shrink this down. Let's click this and then press arrow down so we can slowly see when is the finishing point. I think that's the finishing point. It will animate in a circular manners. It's time to unite it. Again, I will turn this into easy ease, close it. Let's go fit. I will speed up the animation for these three because I will use the same technique, which is masking 1, 2, 3, 4, 5. Later on, I will tell you different techniques for this one. They look pretty good. You see just by having the same technique over and over again, but when you animate them at different timing like this, it will look quite cool. 10. Alpha Matte and PreComping: Let's do a different technique for this one. This is the ribbon. I want to animate them coming out from the top one by one. Let's actually animate them all together, pink, green, red ribbon. Press P for position. Set a keyframe for all of them. Move all the keyframes to the 15 frames. This is about the animation that we use for the rest. Then let's move the Y position up, maybe somewhere here and then change all the keyframes to Easy Ease. Easy Ease is the most common easing that we use in After Effects. It will look a bit weird because we're actually coming up from here. What we want to do is to mask all of these inside of this black box. There are a few ways to do this. I will show you the first way. This is the black paint. The first way is to use alpha matte. The way to do it is by duplicating this back plate. Press Command D to replicate so we have two of them. Then I put it on top of this yellow ribbon. Then on this yellow ribbon, you will need to find this track matte. If you don't see this track matte make sure you have this checked. See this one, make sure it's on. If it's not, you can also check with this toggle switch mode. You need to find this track matte. Then on this yellow ribbon, change this to alpha matte. By the time you do that, you will see that these two layers is now having this icon. It means that they are too now interconnected. Then this plate is now hidden. This yellow ribbon is using this black plate as a mask. If you see now, the animation looks like that, is no longer going up. This method is good, but you can see that it will have a lot of layer. Now if I want to do for this one, I need to duplicate again the black plate and it will have a lot of layers. There's another way which is pre-camping. I will undo this one. We're back to only having one black plate. I will actually select this black plate and then I'll pre-compose this by pressing Command Shift C. Or if you cannot remember that, you can go to Layer, Pre-compose, Command Shift C. It will ask this question, leave all attributes or move all attributes. I will show you what happens if I choose this one, leave all attributes. If I click this, nothing seems like happened, but you'll see this become a pre-composition, and if I double-click this, it will actually create a group that has only him inside, and it creates this new composition, something like this. The size will be exactly as this layer. I will undo this and then I will do it one more time. This time I will select all of these layers, including the ribbon. Select all these to black plate. Command Shift C. When I do this this time, if I select more than one layer, you only have one option here, which is move all attributes into new composition. If I click "OK" it will actually group everything, and if I double-click this, now what you will see is the whole group is using the composition size, which is 1080 by 1080. You've seen now we ended up the same like just now, all our element is not mask, although they are in one group, but they are still on top there and it's not masked by the black bar. We don't really want to do this because this will end up making us need to do alpha matte for each of them again. What I want to do is I will undo this. I want to use the first technique in the pre-composition. For that I will actually remove all the positions first, press U for the keyframing, and I will delete all of our animation. Delete them first. No animation. I will pre-compose our black plate. Command Shift C, just the black plate. Leave all attributes and then it will become it's own group. If I double-click, it's here. Then I will actually copy paste all of this. Actually, I will cut them, all of these four. Select all of them. Command X to cut them. Go to black plate. Command V. You might see them in different locations, so we need to zoom out a little bit. You don't really know where the effect will place them, apparently it's here. Let's take them up. Press V, bring them up. Let's just manually place them roughly where they were before. Somewhere here. Let us check them outside. It looks okay. It looks they're at the right position. Go back in. Now we can reanimate them. Press P for position. Animate all of them. This's end position. Move them to the 15 frames and then move them back up. Select all of them, right-click and then Easy Ease. We have exactly same animation. But now outside everything is masked properly and it's just one layer, it's very tidy. This is what we want. But then now the animation looks very uniform, let's offset the timing. Select all of them, move them slightly in different timing. Let's check the animation. It looks good, and make it slightly faster. I think it looks good. We also need to animate the black plate. Let's select this back plate mask and then animate the mask. This end position. Animate like this. Select them. Right-click. Easy Ease. Then move the ribbon slightly after. That's the outside. It looks good. Let's zoom out. The animation looks good. Let's save this. 11. Make Them Fancy: [MUSIC] Now we have the base animation and it's looking good so far. There's another way to make this animation looking more complicated. This step is optional. It's not very necessary if you don't like the effect, but let me show you one trick. Let's start with the blue plate. I'm going to zoom in here. The blue box top. What I want to do is to duplicate this three times and offset the timing a little bit. First of all, I will duplicate this once. We have the exact same one, but I will go to effects and presets and I come here, I will type fill. Then I will double-click this to apply that effect to this blue plate. By default is giving me this red color. I don't really want red, but I will actually offset this timing a little bit. It happens slightly later than the first one. I will copy the color. I have exactly the same color now, but I want to make it more maybe darker, maybe something like this. I click Okay. Now if we play the animation, I have two exact same animation but happening at different timing. If you do this three times, let me see. I will duplicate one more time and change the time. I go somewhere here and make the color even darker. If I play now, actually with the same animation, you have three different color of animation. If you imagine you apply to all of them, it will make the animation even more busy. Let me try to do that but first of all, what I want is actually this color is our original color. I want that color to be on the top of everything. Actually, we did a wrong one, I should come here, copy. Actually, this color should be same like this as the original. I will go to the second one, take this field Command C, and on the bottom one I will Command V, that effect. Now it's same color and then I will make it darker. Something like this. Now, the ending is the correct color. Then you see with this kind of effect, it's a good practice to be tidy. Once you don't see the first layer anymore, I can press Command and the right arrow to go frame by frame. You'll see by the time it's covered by the second layer, I will trim this layer by pressing Alt and close bracket. I know that this layer end here. If I press Command and the right arrow again, by the time the second one is covered, I will also trim this layer off and close bracket. Then this is the last layer on top. That is the one that I will maintain. Now we see something like this. Let's zoom out, save it. Something like this. Let's do that. I will speed up and do for the rest the three duplication, and we'll see you soon. [MUSIC] I realized maybe the beginning should be linear keyframe. I'll press Command and click on this to become a linear keyframe but the behind should be easy ease. I think that might work better. [MUSIC] I'm done the keyframing. You can see that the animation now becoming super busy. This is really optional, it's really up to you whether you want to do this or you just want to stick with the first one. I might adjust the color a little bit to make them more to the color palette. I will do that, and we'll see you in the next lesson. 12. Intertial Bounce Expression: [MUSIC] I ended up with this color. The color palette is the same. I maintain all the same color palette, and this is what I ended up with. I'm going to proceed with this one and animate the first one. Let's zoom here and let's go and animate this like and thumb button. First of all, I will animate the thumb button. I'm going to zoom in here and go to thumb. The thumb button will animate right after the last plate, finish animating somewhere here. I will press open bracket to just post this here. I want to animate it scaling from this corner. I'll adjust this anchor point, press Y, or this tool. While selecting and dragging hold command so it will lock to the corner down. Then I will press S for scale holding Shift, press R for rotation. I'll bring in these two-parameter. I will select both of them, create a keyframe. Move them somewhere here maybe. I will rotate a little bit like this, and I will make the scale zero. Let's see how it goes. It looks a bit slow at the moment. Let's actually isolate the render region here. Yeah. Something like this. I want to use expression to bounce this. What I want to do is to scale this up and then make it bigger and then smaller, so it looks like a bounce. The traditional way to do that is by doing this. This is a 100 percent. I will go somewhere in the front and then click on the scale and then make this bigger than a 100 percent. When we play. It will look like that. Go like this. Maybe it goes the same with this. I'll copy the rotation, paste it here, go back to this one and then make it more than that. It's like bounce like that. Logically, if you want to do this properly, you have to bounce more than that and then bounce back and then bounce the other way back and there's a lot of keyframes involves. There's a way to automate this using a script. Actually I will delete this keyframe in the middle. Create here. Say first, I'll go to my Chrome, and then I will type inertial bounce After Effects. This expression wrote by Harry Frank. What we want to do is to copy this in a cell bound script that he wrote. You will copy from here. Just copy everything, take everything command C, go to After Effects. Then you hold out on this stopwatch. I will do one by one to the scale first, hold alternate. Click open a script dialogue box. We will just paste this command V and click outside. Let's see what's going on when we do that. Automatically apply a bounce like this. The default setting usually is too much. What we need to do is let's open this scripting right-clicking there. What you need to know is you don't need to worry about all of these things. You just need to change the first three parameter. Amplitude, frequency and decay. Frequency is how many times they bounce. You'll see it a lot now. We will just reduce this to one. Erase this to one. Let's see how it goes. Like that. It's actually a bit slower. Let me just move it faster. The bounce at the moment is super huge. What controlling that is either these two things is amplitude. Let us reduce the amplitude from 0.1 to 0.05. Then let us see how it goes. Then the decay is actually usually when you want to reduce decay, you should increase the number. Let's increase it to four. I think it looks good. I will apply this. I will select all of them, click and then Command C. And then actually I will apply them to the rotation as well. I'll click here and then Command V to paste the script, click outside. Let's see how it looks like. Maybe move this to the same timing. It looks pretty good. Yes, this is initial balance expression. Let's actually animate this like button. I will animate the position. I press P for position, bring it somewhere here. Set a keyframe. This is N position. At the beginning, maybe it's on the side like this. If you see it's actually out of the box. You can use either the pre-comping or the format. Maybe for this one I will just use a format. I will take this blue box top command D to copy, put it on top of the like. Click on the like, toggle and then find a format. It'll be missing. But you'll see now is must based on this. You see these two icons, and the blue box will be hidden. These two things is actually now linked together. You guys can see, yes. Then I will adjust this to easy, ease. I think I want to slow down this, slowing down. I will select this keyframe, open my graph editor, select this, and then make it more dramatic by pushing this to the left. Let's see the animation. It will make it slow down more. I think looks pretty good. Now, let us see on the fit. You can now see from the beginning. I think they can come a little bit earlier. Yeah. Looking good so that is position and the initial balance expression. 13. Copying Expression: [MUSIC]. All right, let's animate the art. I'm going to turn on my art layer. For this one, I'm just going to quickly do a scale. I will move it somewhere here, press "S'' for scale, set a keyframe, and then go to the beginning then set it to zero. Again for this one I want to use the industrial bounce expression. But we already have the good setup in the thumb. I will go to the thumb layer and I press "ee" to open the expression that we have wrote. So [inaudible] ee is to open any expression parameter that you set on one layer. I will just take this copy and then go to scale holding Alt and click on the stopwatch and then Command V to paste it. Then let's see how it looks like. A bounce and it looks good. I will make it slightly faster. Let's see how it looks like. It looks good. If you want you can also duplicate this three times like our earlier method. I press "Command D" to duplicate at a focal field move it, change the timing. Maybe this one I change it to yellow. Let me move like this. Then maybe duplicate one more time, change the time. Stagger the time. This one maybe the color change it to green. We have the same color palette and then always so fast. Let's make the keyframe slower. I think the bounce expression is actually making it quite weird. I think I will remove the expression. But you guys can play around with it. But I think I'm just going to keep it on the last one. Again, as a good habit, once the first one is covered by the green color, hold "Alt" and then close bracket to trim it. The same with this once it's covered, trim, so you don't see the duplication of it behind. 14. Trim Paths: [MUSIC] The next thing I want to do is to animate the text love. I will find my layer and turn it on. I want to use this technique called trim paths, which is a method to do a line art animation. Maybe I will start animating somewhere here or bring it here. First thing I need to do is to convert it to shape layer. I will right-click Create Shapes from Vector Layer. When I do that, again, it will keep my original and create shape layer out of it. I will actually change this to orange. We have exact same thing. But this time I want to animate the line. If I open this shape layer, shape layer will have a lot of different things to animate. What we want to do is now divided into four. Group 1 is e. Let's just name this group E. Then this is the V group. Press, "Enter" you can name it to v, and then press, "Enter," then press, "Enter, L." This is similar like create outlines in Illustrator. Now we can animate them differently. What I want to do is go to the L, open the parameter, and then go to this arrow and add an effect called trim path. You don't see anything yet at the moment. Let me open this. It has a few parameter. If I animate this, maybe you cannot see anything now but I will try to hide this by clicking this. Now you see it better. There's a shortcut called Command, Shift, H. This is to hide bounding box plus the line. Now if I animate this, you can see what's going on. In trim path there are field parameter and means. You animate the ending. This is the beginning. If you animate the star, it will also do that. If you animate the offset, they will move like this. You can do many things with this. You can animate each of them. But for this case, I just want to animate them out. Undo. I just want to animate this n from 0-100, something like this. If you think that direction is wrong, you want to animate it to the other direction. You can use this one and it will animate to the opposite direction. I think this is what we want. Yes. I will create a keyframe here. Then I will press, "U." We can just isolate that particular keyframe. Then I will go here and I will animate it to 100. Let's see. Let's press, "B" to isolate the render region here. So fast. I will move it slower. Let's animate the letter O with the same trick. I had to open this back, go to O, click on the O at trim path. Open this parameter. Set a keyframe here. Go behind animated the 0, and then let's see. It looks pretty good. Press, "U." Looks pretty good. Let's animate the v , is the same thing. Go to v, trim path. Open it, set N. Press, "N." Then actually, I just want to animate the e as well. Trim path, open it, set a keyframe on n and then press, "U." We can just now see, go to the beginning, change both to zero. I think something like that. Of course, you can play around with the timing. For example, maybe the O should happen slightly later. Maybe something like that. Let's see the whole animation, go to fit. I think we can start earlier. Let's trim paths. 15. Layer Parenting: The next thing is to animate the text bubble, is this one. Let's zoom in here. On this one I want to introduce a concept of parenting. First of all, I will press Command Shift H to make my bounding box appear. What I want to do is to animate this bubble text to scale from here. I press Y and bring this down, hold command, it lock to the corner. You see when I do this, I want the comment text to follow whatever I animate here. There's an easy way to do that. I will select on comment and I will use this pick whip. This is called parenting pick whip. When I click this pick whip and drag it to the white bubble, it will actually inherit all the transform parameters from here. Whatever I do with this, the comment will follow if I scale like this. If I rotate, this layer will follow that particular one. We can also do parenting to certain parameter. Let's say you just want to inherit the scale. You can use this and parent it to just scale. But on this case actually I want to inherit everything, so I will just maintain that. Let's animate the white bubble. Actually, let's start animating when it's here. Let's bring them here. Now I just need to animate this particular one, the white bubble texts. Scale and probably rotation. Then this is the end position. I'll select both of them, move it somewhere here. Maybe I'll rotate a little bit and then change the scale to zero. Animate something like this. Again, I want to use in a sale bounce. In a cell bounce is the expression that I use all the time. I will go to my thumb, press E, E again, and then copy. Close it. Go down here. Alt, click on the scale Command V. I'll click on the rotation, Command V. Let's see how it looks like. It's very slow, so I will move it still quite slow. I think that's good. 16. Motion Tile: [MUSIC] How do we create something interesting with this pattern? First of all, I'm going to recreate this text. I will actually just hide this follow pattern and then use this text too. Then just come here and then type follow or you can type whatever text you want. You can use whatever font you want. I'm using a font called Abril Fatface. This is the font size, this is the tracking, this is leading if you have more line. You can explore, all of these is similar like Photoshop or Illustrator. We will use an effect called Motion Tile. But, this effect only works for pre-comp layer. First of all, we need to pre-comp this follow layer. I'll press "Command Shift C" to pre-compose and then maybe call this Follow Text. You only have one option for this. Click "Okay". Let's double-click this to enter the isolation mode of that layer. You cannot see anything now because the background is black and our text is black. You can either turn this to see the transparency and you can see the text, or you can also change the background color by pressing "Command K" for composition settings. You can change the color to anything. It doesn't really matter because this is actually transparent. The color will not reflect it on anything in the main comp. If you go out, it's still transparent. At the moment, the composition size is very big. We want to make it small and following this text. I will use this tool down here, region of Interest. I'll click this, and then I'll roughly draw maybe roughly something like this. Then I will go to Composition, and crop composition to region of interest. If I do this, our composition settings will follow this size and it will become small like this. If we come out now, we can rearrange wherever you want. Then go here to the Effects and Presets and type this effect called Motion Tile. When you type motion tile, is inside stylized Motion Tile. If you go here, you can also access from Effect, find Stylize and then find Motion Tile. Select it and then it will give you this effect on this layer. At the moment, it doesn't look like anything. There's nothing different. But if you increase this output width, you start to see that it's actually duplicating this layer to the left and right. If you use the output height, IT will increase something like this. The more you increase, the more the effects will need to process this data, so don't use more than what you need. We will actually mask this inside of this plate. I think this is roughly okay. Let's clip mask this first. I will use this red plate, duplicate and then put it on top of this layer. Select this layer and then use the Alpha Matte, and then it will be inside of the plate. I want to rotate this, so I will press "R" for rotation and I will rotate maybe something like this. You see now we see a gap, so we can increase the output height. There's another thing that you can do with this face. If you select this, you'll see it will shift the copy. You can also use horizontal shifting. It will give you something like this which is quite nice. The benefit with pre-comping this first, so if you now you go back to this, you can actually change this text to anything. Let's say you change to anything. Then if you go out, it will change. But of course, you need to readjust the composition size by doing "Command K" then you can adjust this width and height. But, actually I will undo this. I will use my follower texts and then I would just want to add follow. When I come out, it will give me this. This distance is a bit too big for me. The way to adjust this distance is by minimizing this composition size. Again, I can use this tool and then draw something like this, maybe something like this more type. Then go to "Composition" and then crop again. Then we see outside. You can play around with this until you get the result that you like. Let's save this. This is Motion Tile effect. You can of course play around with the other parameter, for example, you can animate this if you want to. This is pretty interesting. But, you can play around with the rest of these settings. If you click "Mirror Edges", actually it will mirror your text. Just play around with this effect, is pretty cool effect. 17. Text Animation Preset: [MUSIC] We've got this animation now. Our pattern looking good, but it looks quite static. Let's animate using the text animator. First of all, I want to go to my precomp here. There's an easy way to animate your text. First of all, you have to select this layer, the text, and then go to this arrow, effects and presets and then click on this hamburger menu here. Then you can go to Browse Presets. When you click this, it will open your Adobe Bridge. If you haven't installed it, just install from the Creative Cloud subscription. It will open this by default and you need to navigate into the text. Double-click and then there's a bunch of presets that After Effects have prepared for you. Let's say you want to animate in, you can go to this folder. After Effects actually has a lot of example. For example, if you click like this, you see there's a lot of fancy text animation that I usually never use because in the advertising world usually they don't really need this kind of fancy and looking weird animation. There's some preset that is simple and generate like for example, this. I use this sometimes because it looks very simple and it looks classy. But I never use crazy stuff like this matrix stuff. This effect is the one that I use the most actually typewriter because it's so generic and it's those standard. Let's say you want to apply any of these, you can just double-click while selecting this layer in After Effects. Let's say I want to use this typewriter. I can double-click this and it will apply here in After Effects. If you press U, it actually gives you these two keyframes and you can bring it here, you can see that it's giving you this text animator. Let's say you apply this and you don't like it. To delete this effect, you need to open this text and then you just click on this animator and then you just delete the whole thing. Then it will go back to normal. Then you can again go to brush presets and you can find another effect that you want There's actually bunch off crazy stuff like this. This is the increasing numbers. Sometimes I use this. This is like a time code. This is like buzzwords. Lot of things that you can play here. You can click and then try to see what it does. You can just play around with it. But for this particular case, if you know the name, you can also type it here. I will just use typewriter actually then select and see. I will go out. Maybe I will start a bit later. I think something like that. 18. Text Animator: [MUSIC] To focus on this text, let's solo this text. I think we need to solo background and maybe we also solo the plate. This is the button to solo the layer. Let's go more in depth with this text animator. If you create a text layer, there's actually a lot of parameters here, but the one that very powerful is actually inside this animate arrow. To control certain things in text animator, you need to choose what you want to do with it. Let's say we want to make this the letter go one by one, letter by letter up from down here. That means it's affecting position, so let's try to add the position here. When you add position, it will actually give you a bunch of parameter here. What it means is start is this beginning line and end is this beginning line. If I adjust this area here, for example, you will see the beginning move here and I will adjust the end here. This means this position effect will only affect this region of area. Let's say this position is to set our affector position. Let's say we want the text to go down from here coming from here. You can actually see that this position is affected by this region. This offset is, if I move it to the left, you will see that it controls where this area is. If I move it to the left, it will actually go from nothing, then come here, then it will go until the end. This is the meaning of it. What we want to do is to animate everything from down here to up. With that actually, we can open this advanced. If you see here, add means this is included. If I change this to Subtract, it will invert that. This is secluded. Just leave it at add. This square means the area affected is affected by this square shape. I will actually change this to Ramp Up. I think now we can animate this from here, it will go up bit by bit, something like that. Ramp up means from nothing you will just go to the affected position. With this, you can see that if we animate, set a keyframe here and move this back and then go somewhere here, and then we animate something like this, we will get this result. It's a bit fast so I will adjust this. It will look like that. At the moment it's affecting in this manners. If you want it to be less steep like this, you can enlarge this area, something like that, and you will have a more smooth. I think this is pretty good. Once you set up this animation, you can actually add other things to this. This is at the moment it's position. Let's say you want to affect scale instead, so let's add to the same animator. You can add scale. If you change this to zero, this thing will start from zero. It will go something like this. Let me remove the position so you can see what happened with the scale. You can see the power of it. If you have set one range selector, you can actually add different kind of animation. You can add opacity or even skew or scale. I think for this one, I might want to do position and maybe I will apply the scale into the other one. Let's remove the scale. Let's delete this scale and then move it back down like this. I want it to be alpha matte by this plate, so I need to duplicate this plate, Command D, put it on top and alpha matte. Now, if we see, it will come in like this. That's looking pretty good. Let's un-solo. Let's see our animation. Don't forget to save. Let's adjust This follow. I will go back to the follow, and actually I will remove the typewriter effect. I will delete the whole animator, so we don't have that typewriter effect anymore. I want to animate the scale. With that, I can come here and then I can add scale. You see at the moment that anchor point is at the bottom here, by default is at the bottom. If I scale this, it will actually scale from the bottom. I don't really want that to happen, I want it to scale from the middle. With that, we need to adjust the anchor point. But if I add the adjustment of anchor point here, it will actually become pretty strange. Let me try something. If I add this property and then anchor point here, and I adjust this thing down, something like that. If I open this range selector and if I animate this, it will actually affect the position. This is because this range selector is a vector anchor point and scale. We don't really want to animate the anchor point, so I will undo everything. I'll Undo until this is on the scale. We will affect only the scale with this animator. I will animate here, 200, then I will change this to zero. It will animate from zero, something like this. Then at the moment it goes one-by-one like this. I need to change this to ramp up. By the time we do that, we need to adjust this to minus 100. It's now doing that. Our anchor point is still at the bottom, so we need to add click. We don't want to add it here, so we want to come to the follow, the main one, and then add an anchor point. It will actually adding another, animator number 2. With this now we can set it down and then move everything up. Now it will animate from the middle. This range selector, the second one that we added is only to affect the anchor point, it doesn't affected by these keyframes. Now, we have this and then when we go out. Press "U" for keyframe, and it should happen around here. Something like that. Let's play this , it's looking pretty good. 19. Offset Paths: Let's animate the ad. I will activate this ad and then zoom in here so we can see. We're going to use an effect called Offset Path. First of all, we need to convert this into a shape layer. This effect, sometimes it doesn't work if your text that you brought in from Illustrator is in the form of text. So if you want to use this effect, my recommendation is to outline your text first from Illustrator, and then when you bring into After Effects, usually it will work. For this one, I will right-click and then Create Shapes from Vector Layer. Click this. It will hide the original and create shape layer. I will actually zoom in one more time so we can really see what's happening. I will open this. Then I will add Offset Path. Offset Path is literally like what you know in Illustrator. It will give you by default 10 outwards. What we want is to animate from inwards, maybe from nothing like this. We set a keyframe here. From here, go back to zero, so it will go like this. From nothing to here. Let's say, I think from here we want to see. Then I will press "Alt and open bracket", and then let's see the animation. Let's see fit, so that is offset path. 20. Echo: [MUSIC] Let's move on to the next one, which is the share text. I will zoom in here. We will use an effect called Echo here. First of all, we need to animate it coming in. Maybe I will move it right here. We'll start. I press P for position, set a key-frame. This is N position and we'll move it somewhere here. The first position, I will move it somewhere out of frame like that. Maybe the position should be somewhere here. Let's check it out. Something like that. Of course, use alpha matte from this one, Command D, put it on top, and then alpha matte. It will be constrained inside this mask. For this effect to work, we need to pre-com this layer, this share text layer. I will Command Shift C to pre-compose. Make sure you choose this one to bring in all the attributes. If not, it will not work. Yes, "Okay". Then we will add type here and effects called Echo, and then click and drag it. By default is giving you this weird-looking thing. This is because by default is set on end, so we need to change this to compose in front, so the original would be composite in front of the effect. We have one echo at the moment because this is set at one. You can add this to maybe two or three or four, or whatever number you want. Let's do seven maybe. Let's see the effect. It's looking pretty good. You see this a little bit of artifact here. I think it's better by the time you reach here, we animate this number of echo, set a key-frame. Press U, hold Command and left arrow and right arrow to make sure this is exactly where it should end. Move one frame forward command and arrow, and then change this to zero. You will see that by the time it reach back here, it will go back to original without any echo, so it will remove all the artifacts. A lot of parameters you can play with here. If you reduce this number, it will actually make the distance nearer, and if you increase the number, it will make the distance further. You can just play here. But this number is pretty sensitive. I think you have to try like this. Let's say I change it to 0.01. You'll see it will come very near, and if I change it to 0.05, it makes it quite far. I will actually make it back to default. It looks pretty good. This intensity is just to reduce the opacity of the beginning or the end. This decay is the end. I'll let you guys play with this, but I will actually stick to this. 21. Fill and Offset Timing: [MUSIC] Moving on to the smileys. Smileys are actually here. Let's find it. Smiley pink. Actually we'll use just one and then duplicate later on. So first of all, what I want to do is to change the color over time. Let's go to this smiley pink, then I will add an effect called fill here, double-click it by default is giving me this red color. I actually want to pick from my original pink, and I will set a key frame for the color. I will press "U", and maybe I will move it here. Let me grab all my smiley. Then let me see. I think it should start right after the white has appeared, like this, maybe here. Let's bring them here. It should be exact, so let me put it on 15 frames so it's easier for us to measure the timing. Here, I want it to be pink, and then maybe after 10 frames, I want it to change to different color. Maybe green, and maybe after another 10 frames, it will change to red color. At the moment, let me press "B" to isolate the render region here, P and N. It looks pretty weird because it's interpolating between these two color. When it's interpolating, it'll become different colors from our color palette. I want it to be just like stop motion change. For that I will select all these key frames and then I will right-click. Then I will use this thing called toggle hold keyframe. When I do that, what toggle hold key frame does is it will maintain this keyframe until you change the value on the next one. If you see, it will maintain pink until this keyframe, it will become green. Then it will maintain green until this keyframe will become red, so let us see the effect. That is actually what I want, but it seems like a bit fast. I will actually change it to extend the duration, maybe. Maybe it should be somewhere here. Let's see. I think it's pretty good. I wanted to actually look at the moment it's changed every 15 frames, it's supposed to be here. Here, I actually want to copy the first one. It will go back to pink, something like this, and then it needs to go forever. Of course you can copy paste this and paste them there. But I want to use this expression, so I will click on the stopwatch and I will type loop. By the time I typed that, the after effect will suggest me bounds of this, and we will use this called loop out. Just click here and then click outside. With this, it will actually look the keyframe that I have set up here, and it will keep on looping out of the last one. If I press play, it will get one one looping forever, if I zoom out this and then I will extend this, you guys can see that this keyframe will be a loop forever. That is what we want, but we want to duplicate to the rest. With this, I actually will just pre-comp this two things, the eye and the circle common CC. Then I will call this smiley. Make sure I select this by default it will be this. I'll press," Okay". Actually our pre-comp, the size is very big. I will go into this smiley. I want to constrain the pre-comp size to just this size. If you remember, we will use this tool and then we will draw something like this. This is to make it easier in scaling later on outside. So I will string to this and then go to crop composition to region of interest. Our pre-comp will be this small. Then usually the location will be jumping to somewhere that you don't really know. You need to readjust this back there. Put him somewhere here, and then I will animate the scale. Press" S" for scale. Set an end position and then come here and then put it to zero. Then it was something like that, change this to the last keyframe into Easy Ease. That's something like that. I will duplicate three times and then I will move the position here, then the last one here. Then I need to readjust the timing so they offset at the exact 15 frames of the duration. Let me go to the first. Let me go somewhere where it changes color, somewhere here. I will shift this until it changes color exactly there. Then I will shift this one until it change to the other one. Exactly there. Then I will trim this out, and then open records. Press U for scale. I see we need to bring this key frame inside this keyframe here. It'll be something like that. They will scale up at different timing and it will exactly changing color at 15 frames each. Let's take the animation. We fit this, C from the beginning, press "B" for the beginning. This is the whole animation. 22. Render: To render your animation, you need to set your render region. Makes sure it start at zero. Come here and then press B, and then it's up to you how long you want to render this. I think I will set it at four seconds, maybe here, and then press N to shrink this and save it. Then you want to go to composition, add to Adobe Media Encoder queue. If you click this, it will open another software called Adobe Media Encoder, and you have to wait for a while. You will see the Adobe Media Encoder window opening here, but you still need to wait. When it open you still need to wait because it will appear here, your render queue. If it doesn't appear yet, you have to wait. Yeah. It appear now. Makes sure you have H264 here. By default, it will be H264, but if not, you can just click here. It will open another setup. Sometimes it can take time, but yes. If it's not H264, you just go here and then make sure you choose H264. Don't worry about the rest. For the rest, just leave it, and then click Okay. This one you can keep it to match source high bitrate, is a good setting already. This is where you want to save the file, click it, so it's masking and an output and then you can call it anything, maybe Mobile Coolness or you can name it anything. Make sure your number them. Save and then click this play button, it will render your animation. Once it's rendered, you can go and check in your finder, go to your output, and then this will be our animation. 23. Animate Out Everything: You have your animation done. It's actually finished. But what I'm going to do next is actually to animate out then. It will loop back to nothing the beginning, something like this. This is optional. You don't have to do this. Sometimes I will speed up this process. Let's start one by one. So I will start with this like, I will animate out the like. Well, maybe you can start animate out from this four. From here I will start animating the like out. This like, press U for the position. So it come from here. Maybe I want to animate it out going up. I'll set the key frame here, maybe move like this, press V, and then move it out like that. Let's check it out. Yeah, it will move out like that. Let's animate the thumb, press U, maybe somewhere here let's set a key frame, and then go like this and then I will just copy paste this, copy paste, copy paste. But since we have expression here that will bounce, make sure you trim your layer here so it doesn't come back. See let's animate the blue top, press U, so right after this two thing's gone I will set a key frame here and then animate it. It comes from the left to the right, then maybe the exit is just go to the right. Double-click on the mouse, animate this out, something like that. Let's move on to the heart, press U, set a key frame, move here, change it back to zero and then don't forget to trim this. Let's see, remember the time here. Let's animate the black box press U. The animation out should be pretty straightforward we just need to copy paste. Let's change this to zero and then trim. Then let's animate the smiley. Actually, we don't need this smiley anymore, so I'll delete. Let's set scale, somewhere here, set a key frame for all of them, move a little bit, scale to zero, trim the layer. Maybe I should set this diagram as well. Then let's animate the green bar, press U, let's set a key frame for all, save, don't forget, then Command C, Command V. Then let's animate the white plate, press U, Command C, Command V. Then let's animate the laugh, press U, set key frame for all, move them here, Command C, Command V. Then let's animate the yellow plate, press U, maybe somewhere here, set a key frame, copy paste. I will actually speed up all the animating out process, I think you should know already. [MUSIC] I think we got the whole animation done. Thank you guys. 24. Conclusion: Congratulations, you made it this far. I hope you enjoy the class and thanks so much for taking the class. If you make any cool stuff, don't forget to submit them here. You can also tag me if you upload them on your Instagram. If you have any problem, as always, just ask me here, or you can also email me or ask me in my social media. Thanks guys, keep on practicing. Bye.