Design & Animate Your First 2D Scene

1. Intro: Want to make your designs move but feel completely lost in After Effects? Or maybe you want to start a career as an animator, but aren't sure where to begin. This class is for you. Hi, I'm Ina, and I'm going to teach you how to design and animate your first two D scene all in After Effects. My favorite software. Animation is a skill particularly worth investing in today, since this is one of the fields not yet taken over by AI, which still requires human creativity. Don't worry if you have never done this before. If you can draw a square, you're ready to animate. I'll help you design using simple shapes. Experiment with timing and apply some fundamental animation principles to really make your animation pop. By the end, you have your very own TD scene design and animated from scratch and exported as a loop of Bo Jif and an MP4 video you can share on your socios, in your portfolio, or on your website. Most importantly, you will live with a whole new skill set you can confidently use for all your future projects. In 2017, I started cache, my own animation studio, and since then, my team and I have worked on over 1,400 project from startup explainers and small business ads to large brand campaigns and music videos. For the past two years, I've been teaching and mentoring young animators like you. With all the information available online today, it's easy to feel overwhelmed and unsure where to start because there is so much information, really. And I see students struggle with this all the time. And that's exactly why I created this course. I've distilled everything you truly need to design and animate a two D scene in After Effects and included the core tools and techniques you actually use 90% of the time. This class is perfect for beginner and intermediate animators, but also graphic designers and illustrators who want to take their design to the next level. It's also great for influencers and content creators and social media people who want to step up their content game with some engaging animations. And the best part, there is no complicated setup or various programs to learn. Let's dive in and make some furniture move. 2. Course Orientation: Welcome to your two D animation journey. By the end of it, you have a fully animated scene, couches, drawers, plants all moving, grooving and full of personality. You create a little scene from scratch inside After Effects, and we will bring it to life step by step. I've prepared all the assets and files so you can follow along. But don't worry if you have never designed or animated before. Everything will be designed with simple shapes, and I'll show you just how easy it is. Just start by doing exactly what I do and don't stress about perfection. More you practice, the more natural it will feel. Once you feel comfortable following along, try experimenting with the key frames on your own. This is the best way to really get the hang of the techniques and start developing your own style. To get the most out of this course, make sure you have After effect 2023 or a newer version installed. Adobe Media Encoder is optional, but helpful for exporting videos smoothly. Just make sure the median encoder is the same version as your After Effects. You have completed your animation, share it in the project gallery, and I'll check out your work and provide personalized feedback so you can improve and feel confident in your skills. The scene we'll be animating together is inspired by simple, freely available resources. You see how even basic shapes can be turned into something lively and fun. Alright, let's get moving. Grab your computers, open After Effects, and let's start designing and animating your first Sud scene, and I can't wait to see what you're going to create. 3. Designing the Drawer: Today we're going to start by designing the night drawer in After Effects directly. So let's get into it. I'm going to start by creating a new composition. Let's just create a square composition for this one. So it's 980 by 980. I created a composition with a quick shortcut. It's like it's Control N. It's just the quickest way to create a composition. Let's change the name to the composition to main. That will be our main composition. Before we get started with the animation, I typically like to pick my cour pallet for the animation and to make sure that the colors are exactly as I want them to be. For this one, we are going to use a flat palette, and I already selected one. There are a lot of different websites that you can use to generate a palette. For this one, I was going for something very flat, very fun and engaging with bright contrast colors. So this is why I selected this one. The scour palette, you can see it here. I am going to scale it down a little bit and put it right here at the top of my composition. The next thing I'm going to do would be to right click and click Guide Layer. So what this does basically is to make this as a guide in your composition. But if you render this composition, you're not going to see the guide layer at all. This is just to help you as you're working on it. I'm now going to create a new pre composition with the night drawer and design it from there. Let's click Control N again and let's name this drawer. Click Okay. By the way, when you work on objects and you want to design objects in After Effects, it's good to have a reference. For example, for this one, I used one illustration from one illustrator that I found online for the flat illustration style, but for the design. But then for the drawer, you can pick like any of these, import it into After Effects, and start drawing on it if you can't really imagine it well. In my case, I already have a clear idea of what I want, but you can do that on your own if you want. So I'm going to start by adding a rectangular shape, which will be the base of our drawer. And let's just hold shift so you can create a nice proportionate shape. I think this one is good. And I'm going to copy my cower palette, as you can see, when you paste it, it's still a guide layer, which is great. So for this one, I am going to actually try to use this cover, but I think that will be a bit too intense. So I want it to make it more like wooden. So I'm going to pick this cover for the background. Next, I'm going to design the top part of this drawer, which is designed with the rounded rectangular two. So you can see these options if you click and hold the rectangular two, and you can just select this one. I am going to add one shape here. Okay. I think this is good. And there are a few things we need to do here. First of all, I noticed there is a white stroke around the shape. So let's just remove that, set it to a zero pixels, and same here, I'm just going to make this zero pixels. So now, I would like this to be more rounder than what it is. So I'm going to open up this new layer shape layer I created. I'm going to open the rectangular path one, and I'm going to adjust the roundness to about 60. Let's see how that would work. Okay, now, let me zoom in a little bit and make sure it's aligned properly. I want it to come out of the drawer just a tiny bit. I feel like this is maybe too much. So let's maybe stick to something like this. And if needed, we can, of course, adjust later. So now I'm going to still click on the shape too. But again, hold, click and hold and select the rectangular to because right now, I would like to create another shape which is actually a straight rectangular shape. So no curves and no roundness. Okay. This is not exactly right, so I'll need to make some adjustments. You can isolate the layer by clicking on the little dot over here. And now I can just see the full shape. I feel like this is a bit too tiny. So what I'm going to do would be to click Y on my keyboard and move the anchor point around here. And then I'm going to drag this point and move it down just a little bit. I just feel like this part needs to be wider and I'll need to go back and just around this once again, I guess. Let's make it 90%. Yes. I think that's good. Uh, you can play around with this until you're happy with your design. And then what I'm going to do would be to copy this whole thing and move it somewhere around here. Now, for the fill, I'm going to select the fill and make it darker because that will be kind of the that's the shadow. R drawer. I think this is fine. I feel like this is fine. We might need to adjust the covers later. Now as you can see, this kind of goes outside of R drawer, so we'll need to make some adjustments. So I just changed the anchor point. So you click Y on your keyboard and drag this thing over here. So that you can make sure it shrinks from the right side of it. And let me zoom in, make some little adjustments here. Okay, I think we're good. The next thing I would like to do is to create the front part of this. So I'm going to click Control D to duplicate this shape. Again, click Y and change the anchor point to this kind of right dot. Then click V so you can activate the selection tool. And you just scale it down to around somewhere around here, I think. Next, let's just adjust the cours, just a tiny bit. So we would like this part to be actually to be a lighter cour because that's the front. And then the back is obviously darker. So that being said, we will need to change this cour as well. And it creates some very nice contrasts that I really like. But what I'm missing here is a little shadow that goes behind these layers so that they can create kind of a nice transition between these elements that we have here. So let's work with what we have again. Just click on the first layer that we created. Control D to duplicate it, change the anchor point, but around here, scale it down a little bit. So for this tutorial and for this whole course, the idea is that we're working with simple shapes. So you don't have to design anything from scratch like any complex shapes, any liquid type motion or whatever. It's just simple shapes. And the reason why I want to do that is because it creates a very nice flat motion, although it's flat. It doesn't have to be super complex to be cold. If you don't see the molds, you have to click on the total switch modes. But if you do see them, all we have to do is change the mold to multiply. Ah, okay. And it doesn't look good. So that was just a test. Obviously, it doesn't look good. So what we need to do next is to move this behind these layers because we don't want them to cover our shadow. It doesn't make sense. We're going to click T on the keyboard, or we're going to open up the opacity by opening the layer. So let's try to change this to 30%. And, yes, now it looks way, way, way, way, way better, I think. One thing that I still thinking about is whether or not to change this cover to this cover, it makes a lot more sense because that's supposed to be the back of the drawer. So, yes, I think we're good to go. The only 4. Designing the Drawer Part 2: Okay, so now it's time to design the actual drawers. These are very simple. So I'm going to click on the Rectangular two and draw a simple rectangular shape like this. Then let's change their colors to be a lighter shade of this brown. Let's see how that looks. Okay. Okay. I think I think that's fine. And then we're going to design another rectangular. A little one that is going to be the handle. So let's change the scour to white. Okay, here we go. I think this looks good. One thing that will be super useful when you work in After Effects is to always change the anchor points to be at the center, even if you are not going to immediately use these shapes. The reason for that is that sometimes when you start animating and you're in a rush or you already have a creative idea in mind, you hate to change anchor points all the time. So it's better to be prepared before you start your actual animation. And I would recommend to plug in. It's by Mr. Horse, and it's a free plugin, and it's called the anchor point Mover. By using this plug in, you can automatically move the anchor point of the center or whatever you like in the composition, and it saves you a lot of time. So let's that for this so I can demonstrate. Basically, you just like these two you have your anchor point mover here and you just click at the center. If you don't have the anchor point mover and you don't want to install it, you can just click Y on your keyboard and adjust it to be at the center. But as you can see, this is just way easier and way faster to change anchor points. The anchor point is the place from where each action is situated. It is kind of the anchor of the element. If we move the anchor point here, and I want to rotate it, as you can see, it rotates from there. And if it's at the center, it would rotate from the center. We don't always rotate from the center. We don't always have to have the anchor point at the center, but it's better to have them at the center and then change it as needed when your animation. In the animation that I have in mind, I would like these drawers to open and close. And that will be when this whole element appears. So the whole element appears, and these drawers kind of open and close. And to do that, I am going to need to design the part of the drawer that's actually how it looks basically when it's opened. And to do that, I would like to first select these two layers, move them to the right a little bit. And then I am going to de I'm going to duplicate Control D again and I'm going to duplicate this shape. Going to bring it down here, so that will be the back of the stroller. And I'm going to change its color to the darker brown cover that I used for the background. So this is how it looks when it's opened. Now, since I don't want it to start that way, I just wanted to make sure I have it designed. I'm going to select these two and just move them where they were. So here. Now it's time to name our layers. I typically name my layers at the end, when I design everything, but I don't want to overcomplicate this. I want to make sure everything is organized. So let's get started. The way you name your layers is you click on the layer, click Enter, and then you add the name. So that will be the handle. By the way, if you don't want to use your mouse, if you're lazy like me, you can just click Control and the arrow pointing down. So that's the drawer. And this is the drawer's back. The next thing that we're going to do would be to copy this two times because in our original design, we had three drawers. So let's just copy this, select all of them. By the way, the way I'm selecting all of them is by clicking Control and selecting then Control D. Going to move them up here. And then we're going to have to copy it again. You can just click Control D to duplicate one more time. And move it down here. Okay. So this is the design of our drawer, and it looks very good. If I select these and the handles, let me show you. This is something we are going to whoop, animate in the next lessons. So yeah, very excited. The last thing that I would like to do is to do some parenting. Parent is where you have one layer, move with another layer. For example, we have the handle here. If we parent it and you can parent by holding this suero icon here and we can pare it to the drawer if I change the drawer, you can see that it changes too, like it moves with it. Let's just quickly parent all the handles to drawers. Then all the drawer layers, we need to parent them with the front. Okay, and the two shadows. So this whole element here and the shadow below it need to be parented to the front layer as well. And the front needs to be parented to the back. Okay. So the last thing I'm going to do here is going to be to select all these rower elements. Click on this little blue icon that you see here and just change it to pink or whatever color you want to use for this. The reason why I'm doing this is because I want to separate these elements because it'll be easier for me later on to animate them. That was it for this lesson. We're going to see you in the next one where we are going to design the couch. 5. Designing the Coach Seat: This time, you should have the drawer design in After Effects with shapes, and today we are going to start drawing the couch. If you are a beginner, I highly recommend you work with references, especially if you don't have the experience in drawing or animating yet. So there are a few references that I found online. This is a good one, although our couch looks a bit different in the original design. So if you want, you can follow along what I do and then apply it with your design and your reference later on. So let's start by creating a new composition again, so Control N, and let's call this couch. Our size should be 1080 by 1080. And then we click Okay. Same as a sign, we're going to copy our coors because we're going to use the purple cour this time. Let's start the sign by adding a ruler. What this does is it gives us kind of some guidelines of the proportions. So in your After Effects, just click this little icon here and then click on Rulers. You see these things pop around it like the ruler, and you can just take one from the top and drag it to here. So the background right now, by the way, is transparent. I just hurts my eyes a little bit. So I'm just going to total transparency by clicking on this so I can see a black background. And I'm going to start by drawing a simple purple shape, which will be the back or kind of the legs kind of of the couch. Keep in mind, we're doing this live, so there might be some adjustments later, but let's see how it goes and go from there. I mentioned last time about the anchor point mover. If you don't have it, you can download it. But this time, I'm just going to change the anchor point to be at the top, and you see why a bit later. Co the fuel cover was saved from our previous design. I'm going to change it to be the purple one that we decided to use for this tutorial. And I'm going to duplicate this layer by clicking Control D, change the anchor point a little bit. Actually, sorry, let's change it up to be on the left. And I'm going to wrap this and move it probably around here. So that will be our shadow. Remember, we're following the same style for every element. So let me just make it a bit darker. Okay, I think this is fine. What I don't like, though, is that I feel like this is a bit too too short. Okay, so let's do a few very quick adjustments. At the shadow, I'm going to parent it by holding the zero icon to this shape over here, change the anchor point to be at the center and just extend it a little bit, scale it a bit. Okay, I think it looks good now. I'm going to just move the colors a bit and we can adjust it. We can adjust it later. I might need to be taller, looking at the reference right now. Okay, so for the part like the middle part, which is actually the seat, we are going to do a very quick shortcut. We are going to copy these elements here. And paste them here. This is actually not really a mistake. I don't consider this a mistake because we want to make sure the elements follow the same style throughout. So if you have rounded corners on one element, it's better to have the same rounded corners and the other elements, so it goes well together. Let's move this thing around here. Let's change the anchor point and just scale it up a bit. That'll be our seat. One thing I'm not liking here is this shape. So it's kind of an ellipse. I don't I don't like it to be an ellipse. I'm going to do double click this. And just create a new ellipse or that will be a circle this time, not an ellipse. I am holding shift. Again, to make sure I create a proportionate shape. And I'm just going to isolate this and isolate that. And yes, I see that is not exactly right. Move the anchor point at the center and adjust it, so it looks like an extension of this element. Let's just change the color to the same color as this one. Very later I'm going to change it to be purple, and I see that this part over here is not okay. So let's scale it down a bit. So it looks nicer. Okay, I think this is perfect now. One thing that it's missing is that it needs to be just come more to the right, so I'm just going to make this seat taller. Adjust the circle again. I feel like this looks good. I'm going to extend the rectangular to be something like this. Yes. And now let's just select these two elements, duplicate them. And change them to be around here. Let's now change the cours because I can barely see anything. This needs to be our purple. Don't worry, we're going to add a shadow later. Change this cower again and change this to the darker cower here, darker cower here. Same as last time, just copy just select this and extend it somewhere around here. So you don't see any angles. Slightly adjusting the position now. Okay. Now it's time to add the shadow, duplicate the base, move it on top, change the anchor point at the top. And because of the ruler, I just need to change the ruler a bit and just make it diste. Okay. Change the cower to a bit darker cower than what we had here for the shadow. Okay. Move it below the seat. Where is the seat? This is why you need to name your layers. And we're going to do that After. Okay. So now let's change this to multiply. Doesn't look good. Change the opacity, same as we did last time, short key, T on your keyboard. 25%, I think would be better. In this case, yes. 6. Finalizing the Coach Design: So now it's time to design the back part of the couch. And this will serve as a base, and then we are going to design the pillows. But first, let's just design the back part. What I'm going to do would be to click on the rounded rectangular too, because I want to create rounded rectangulars this time. And I'm just going to design a very basic thing for now, as you can see, not organized, doesn't look very good, but that's fine. We're going to fix it now. So let's just move it down here. Okay, and now it's time to decide how long our couch will be. I feel like this is a bit too much. So I'm going to move it down. Just imagine we will have rounded pillows here, rounded pillows here, adjust it how you see fit. I think for now, this shape is okay, by the way, keep in mind, this is the shadow shape. There will be another shape coming in a second. But yeah, I think that's fine. Let's just open it up and again, change the rounder to the rounders will actually be visible on the here. I think that's fine. In my case, that's 94. We will see later if we need to adjust or make any changes to it. Let's duplicate this, change the anchor point again and scale it like this, I think. For this one, I I want it to be a lighter tone. Okay. This is good. Next, we're going to design a little ornament in here. This thing is going to be the same as this, and therefore, I'm just going to copy the circle. Where is it? Move it right here. Change its color. Make sure the anchor point is at the center and what we want to do is grab a ruler, place it at the same level as the shadow like this and we'll need and just move it a bit to the left. You're going to see why in a few seconds. Right now, I see this empty triangle that I don't like. Let's just feel it quickly with the shape. Okay. I'm going to remove the ruler for now because I don't need it. The other thing I would like to do is to make this angle straight, not curved like this because I feel like it's going to look better with the design overall. So let's just duplicate this. Open the rectangular and path one, change from this to zero. Move it a bit and bring it on top there. So now, because I changed there, you can now see that this rounded shape has not changed as well. So I'm going to create a mask. I'm going to click on the rectangular two as if I'm drawing a shape. But this time, I'm going to click on this little icon here. What this does is it uses your rectangular to create a mask to create a shape. So let me click on this and just throw a little shape somewhere here to cover it up. A few minor adjustments are needed. One last thing that we are going to need for the back of this couch is to create a shadow. For this shadow, I am actually going to do something different because I would like to have this part, the top part of it, having a little shadow on it. And this is created by using two shapes, these two. Let's just select these two. Making sure that it's the light part only. Duplicate them. Right click and click precompose, this is going to create a precomposition. Let's just call it back. Pouch. B. Here we go. This is going to be just for the mask, click on the rectangular two again, draw one. Like this. And in the Effects panel, search for fill, apply the fill effect, copy this here. But click T opacity, and make it at 30%. Let's see how that looks. Okay, or maybe a bit more. Okay, maybe 40%. 40% is fine. We don't need to make it multiply here because there are literally no layers behind it without coverage. So I think we are good to go. And the last thing that we're going to do will be to design the pillows. Before that, make sure you save your project. Click on the rectangular two and draw a little shape like this. Change the anchor point as always to be at the center and draw a little circle. Now, let's just isolate these two. Okay? And the reason why I'm creating a circle is because I want to have this kind of nice shape that we are using throughout this animation. Okay? This looks good. And now let's just duplicate this, bring it at the front and make it darker. Let's change this to the lighter, but give you a bit lighter shape, shade Okay, this needs to be the same cour, and these can be this cour or butter, this perfect. Perfect. Looks very nice. That's our pillow. Let's select these elements, duplicate, bring them on top, move them right here and bring them at the bottom. We're ready with the couch. The last thing we want to do is, as always, name our layers and cover them differently, so you can make sure you find them later on. Okay, I'm ready. Every layer is named now. First, let me corcle them, and then I'm going to parent them. So OD, so the pillows would be red. And that's another pillow. Every element related to the seat, like the back, actually, of the couch, which I'm selecting and then I'm going to isolate so I can make sure these are all the same thing. All these are going to be yellow. The set will be aqua blue, and then all these elements that are going to be pink. Okay, perfect. Now, let's perment these two circles of the pillows to the main shape, just like them. Drag and drop here. All these elements will be parented to this one. The first layer that we created for the back. There you go. The pillows, the circles of the pillow will be connected to the rectangular again. The seed all the seed layers will be created to this one, or to the rectangular shape. The shadow needs to be parented again to this one, the main one. So this is parented to this already, and the pillow. So the few layers that are without a parent, and you can see that here are these, actually. These are the main layers we're going to be animating. This is the bottom part of it. This is the seat. These are the pillows, and that'll be the back part of it. Everything else will be either adjusted or won't be animated. It will be only coming from these parts, and our couch is ready. 7. Composing the Furniture: Everyone, and welcome back to the next lesson. So by now, we should have the couch and drawer already designed. Before we start designing the lamp, I would like to at the existing items that we already have. So this is the couch and the drawer. The reason why I want to add this in one scene is because I want to see how big our lamp will be and how big we need to make it in order to balance the whole composition. Okay, so that was the original composition that I created way back in one of the first lessons. This composition, just a quick reminder, it's called the Min composition. This is where all these objects will be animated, and it's 1080 by 1080, so square. I'll start by adding a layer for the background. I would like it to be one of the colors from our color palette, but to go well with the rest of the items that we already designed, I'm going to make it a light blue color. And what I did was to click Control and Y so that I can create a solid layer. The solid layer can also be created by clicking layer new and then solid. Okay. Now let me just bring it down here so I can still see my guide layer with the covers. And I'm just gonna actually move them a little bit. I'm just going to yeah, move them around here. So, what do we have here? First, we have the drawer. Here we go. And the couch. That's already designed. The first thing that I do typically when I start a project is I click on this little sun icon every single time I start like an animation. We discussed that last time, so let me just quickly do it. It's kind of a habit already for me. So always I always do it. Let me just scale this couch to about No, 50% is too small. I think I will go with something around 75%, which I think is good. And I'm going to bring it down here so I can still see my drawer. For the drawer, let me scale that to 75% approximately. And move it here, right next to the couch, something like this. Now, actually, I think I'm going to make it a bit smaller. I'm going to make it 65% and move it down here. Okay, I'm going to just move the drawer a little bit to the left because we will have another item here that will be the flour. And I'm going to control D, duplicate this drawer, bring it behind the couch, and add it right there. So I'm going to do something very quickly. I'm going to draw a line right here. And I'm going to change the stroke to five points. And let's change the cower to a dark purple cour. So darker than what we have on, like, the couch. Yes, I think this is fine. Kind of this line is our ground, and I think it crowns the whole design. This is, again, a personal preference. If you want to add or take stroke, you can also do that maybe eight. Yes. I think eight is fine. And one other thing that I would like to do is to make this rounded. And how you do that is by coco shape, stroke, and then change the line cup and the line joint to be round cup, round joint. And now our joints are rounded, which is great. I think I personally prefer this. 8. Designing the Lamp: Okay, so now that we have the composition with these three elements that we already designed, it's time to design the lamp, and we're going to start, of course, by creating a new composition. So Control N for new composition, change the name to lamp. And what we are going to do now is to actually import one of the drawers that we previously designed. And this is because I want to see how big the lamp should be. So what I did was, if you have your composition here open, you can just right click click on Review. This one, Review composition in project, find your project here, drag and drop it here, move it down a little bit, and then click the sun icon again once again. And then let's see. I think our lamp needs to be maximum here. So let's just click on our rulers. Add one here, and then add one, I think somewhere around here. Yes, I think this is fine. Now we can delete the drawer because we don't need it anymore, and let's start drawing our lamp. The first thing that we are going to design would be in the base of it. For the base, I'm going to design, something like this. Okay. Going to make sure with the anchor point mover that my anchor point is at the center, and then I would like to remove the stroke. So make sure that's zero. And for the fill, let's come up with some brown color to use for our base. Yes, I think this is good. Next, I would like to actually cut this. So I would just like to have this part that's right above the line. So I'm going to hold and click and click on the rectangular two. Then I'm going to make sure I click this icon, which will allow me to create a mask rather than a different shape. Okay, and we're done with the shape. Now from the middle of it, there will be one straight line. This line is going to go from the middle of the base we just created to the top of the lamp. Okay. Let me just click, make sure the anchor point is at the center, and I'm going to select these two, and I would like to center them. So with the align option, and by the way, if you don't see the align panel, what you can do will be to click on Windows and then search for a line and then bring it up here or whatever you want. So I'm going to change align layers to composition, and then I'm going to click on this icon. So as you can see now, our like, straight line is right at the center. So let's move forward. I'm going to design one more shape. That will be a darker brown color. And this dark brown color shape is going to be just for some nice detailing. I actually think this is way too rounded. So let me reduce the roundness to ten. Okay? I think this looks good. And I will bring it above the line but below the base. So the base will be here we go. Looking at it now, I think I would like to move it a bit. Yes, this is something like a handle. Yeah. We're deciding right now. Okay, so now let's create the upper part of the lamp. For this, I'm going to use the Pentool and here is how we're going to do it. It's kind of like a triangle shape with a straight line here and some details over here. Let's start our shape here and here, by the way, I'm holding shift so that I can make sure I'm making a straight line rather than curve lines. Then I will I will release shift so that I can create hoops. Different shape, bring it, I think, somewhere here, then draw a straight line again and connect it back here. So something like this. Okay, we might need to adjust it a little bit. I want to make sure that this triangle is a straight shape because otherwise, you'll look very weird in with our other items. Okay, so make sure the anchor point is at the center, align it. Now we do have a straight triangle for the lamp. Let's remove these because we don't need them anymore. That was just for reference. I'm going to remove the rulers, and I would like to change this field cover to off white, I would say. So yes, off white. So looking at it now, I think I would like to extend this to make it appear on the top a little bit. Just a personal preference. Actually, let me remove this ruler two because it's getting on my way. Perfect. And now let's create one more shape that's right above here. I'm going to duplicate this one move it here and move it here. Yes, great. Let's actually change its scale a bit. Yes. Yeah, I think this looks good. Looks good. It's just kind of another detail from the lamp. Next, what I would like to do would be these little things that will be kind of a decoration of the lamp. And these are minor details, but makes the design look better. So in my case, I would like to design a few circles. Not a straight circle. I don't think a straight circle will do. So just draw like an ellipse, move the anchor point out the center, of course, and move it up here. Okay? I don't want to see an angle. That's the thing. I don't want to see this angle. So duplicate this and move it here. Okay. Now, select the last two, duplicate them, move them here. I'm going to speed it up a little bit, and I'm going to do the rest, following the same logic. So now for my favorite part, we are going to name the layers and pan them. I'm going to speed this up because you already know how to do it from the previous lessons, and I'm going to see you in a few secs. Okay. Now let's do some changes to the colors of these layers. All the details for the lamp, as well as the white part over here is going to be red. This one is going to be because these are like details. Both of these, like the top detail and the bottom detail they are going to be yellow, and then I'm just going to leave the base and the line, just like the default cover. And for the parenting, let's just parent all these details of the lamp with the white part, like this part, and the rest can stay as is because in our next lessons, we are going to be animating them separately. So that's why I don't want them to be parented to anything else. That was it for today. I'm going to see you in a bit in the next tutorial where we are going to design the next element. 9. Designing the Flower: Come back, guys, today we are going to continue the designing After Effects again with simple shapes. But this time, we are going to design the next element, which is the flour. I'm going to start again by creating a new composition. The composition name this time is going to be flower. I'm going to keep this 1080 by 1080. I'm going to click Okay, and same as last time, I'm going to add my couch here, find my couch here in the top and I'm going to bring the scale down to 75, which is how it was in the original animation. And I'm going to make sure I have my rulers. I'm going to bring one here. Another one, I think, somewhere around here, which is where my flower will need to end, like the design of it. Let's remove the couch now, total the transparency grid so I can see my fully black background. And we are going to start by designing the little pot. Let's click on the pantu because it's not a very simple shape that we're going to draw this time. And let's add one dot here, hold shift so you can create a straight line, and oops something happened with this dot, let's just zoom in. Okay, Pento boom, boom. Yep, somewhere around here. And let's add one here, one holding shift here. If you need to adjust a dot, just click V and bring the dog down. And ended here. But I want it to make it taller. So it looks more like a pot like this. Again, this is not centered, so I want to make the left part same as the right part. The dumb and lame way to do it would be to draw a ruler here at a little shape Shortcut here is G for the pento. Grab this dot and move it right here. Okay, let's remove the guide layers for now. Anchor point should be at the center as always and remove the rulers. Now, in order to balance the design, let's use the same colors that we used for the lamp for some of the elements of the lamp. Let me find my lamp that we created last time. It's this one. I found the composition, right click Review composition in project. Go back to our flower, bring it up here. Like now looking at the lamp, I think this needs to be lighter. So let's just use a lighter color here so that we can create some nice contrast in the lamp. And let's go back and just take this cour and use the same color or the pot. For now, I'm going to keep this over here because I'll be probably taking more cours from it later. Now, I would like to design a simple rectangular shape select these two shapes, go to selection, and then click on align vertically. Now, let's just change this color. I would like it to actually be a lighter color than this. So I'm just going to on the cour wheel and move it right here. Yes, I think this is fine. Now let's create a little soil inside. Super simple, draw a little ellipse, like this, yes, move it at the bottom of this, and for the soil, we're going to use the same brown as the one that we have in the lamp. Okay, so now for the fun part for the branches and then the leaves. Super simple again, just grab the pento add one dot over here. Holding shift one over here, one over here. Remove so clic on fill, remove the fill, and add a stroke of five. Next, change the stroke cover to green. Actually, the sroll color, let's bring it to three. I think that will be better. Now let's move this right here at the bottom, and let's add more branches in a different layer, though. That will be very important. If you have your layer clicked right now and you start drawing other shapes, you'll create different shapes within the same layer. What we want to do is make sure we don't have any layer selected. Just click on here or some empty space in the project and start drawing again. I will add one here. And by the way, because you already created this before, like the stroke and the cover, the next time you're creating more items, it's going to be automatically the same cover and style as the previous one. Okay, I'm going to create one more here. So now for the leaves, we're going to create one dot here and one dot here. But the minute we click on the last dot, we are just going to hold and extend it a little bit like this. Then just click on the first dot so they can finish the whole composition. I'm just going to yeah, just it a little bit. And for this, I would like to remove the stroke. So the stroke should be zero, and the fill should be a shade of green. Add two more dots here at the center and make these and just extend these a little bit. It depends on what type of a leaf you'd like to draw. But in order to make it more like a leaf, I would like to adjust the shape to something like this. Okay, I think this is great. And now just add one little line that goes from here. To hear and again, hold and adjust like this. Now for this one, just remove the fill at a stroke to. No, that's too much. One is enough and grab the same cover as the leaf and just make it a bit darker, something like this. Personal preference, if you would like to keep your leaf like this is perfectly fine. Or the other way you can do it is to just extend this line a little bit like this. Um, I personally prefer it the previous way, so I think this one is great. For the anchor point, we are going to move it right here because this is where from where this will animate right here. And for now, let's just parent this line that we created to the main shape of the leaf. Going to click R on the keyboard and rotate it a little bit, then scale it down. The next thing I'm going to do, and I'm going to speed this part is to duplicate this leaf and just add it everywhere. Oh Okay, so now that I have all my leaves designed, I'm going to change their colors just a tiny bit so that they can look better. If there is something like rule, I would say, and there isn't one, I would say try to mix lighter with darker next to each other so it can create this nice contrast. Okay, so now that we have the design of the flower, I am going to name the layers and pan them once again. So I'm going to speed it up. Okay, I have all my layers named, and now let's cour cold them. And we are ready with the design of the flower. 10. Designing the Cat: Hello, and welcome to the new Lesson guys. First of all, before we get started, I wanted to apologize because my dogs are going crazy in the background. So if you hear weird noises, it's not me. They're just it's a playtime for them right now. In today's lesson, we are going to continue the designing After Effects. But this time, we are going to be designing the little cat that we are going to be added to design. This cat was actually add after I reviewed the whole animation, and I was like, something is missing there. And although I'm a dog person, as you can see, I decided that a cat would be a good addition to our scene, to make it more life and just add more character to it. This is a bit more complex design, not super complex, but yet, not containing only simple shapes and simple circles and rectangulars. So because of that, I went online let me show you. And I found a few different weird poses of cats sleeping. Like my search is weird. It says cat lying. But anyway, I found this one that I really like, Okay? Here's the dog. He's sensing that there is a cat that will be animated right now, and I'm going to download it and use it as a reference. On the other hand, I found this free vector online that I really like the style of. So I'm going to use this as a base for like a V for a vector illustration. So let's again start by creating a new composition, Control, and I'm going to name this set. Then from there, let's import what we just downloaded over here. And add it here as a kind of a reference. Actually, this is going to be in the middle of my composition. You're going to see why in a second, I'm going to trace it. And then again, sorry about this noise. They're going to be done in just a second. I'm going to copy this vector, which is going to be included in your project files so you can import it in your After Effects when you do it. And I'm just going to paste it here. It was isolated. So let me remove that and bring it somewhere up here. So let's just move it somewhere like here. For example, I think it's going to be nice to just align with yeah, that's cool. Okay. Anyway, so let's start. This, as I said, is going to be a bit more challenging, but not something we can't do. Since I really like the pulse of this cat, what I'm going to do would be to trace the basic shape of it, and I'm going to start with the body. Like, for now, I'm not going to be adding the head. You'll see why in a second, that will be a separate layer because I would like to animate it later separately. So let's just click on the Pentool and start drawing our body. I'm going to speed this up And for this first part, just make sure you draw just the body. You don't need to design the tail or the head. This is just the base. What I see from my illustrate. What I see from my trace is that there are just a lot of bones here, like, a lot of dots. So I'm going to simplify it a bit because this is, after all, a simple illustration of a cat, not super detailed and realistic one. Okay, so I see that there is a little bit of a stroke. That was because of the leaves we previously created. So let's just bring it down to zero. For the fill cower for now, I'm going to use something like this, kind of kind of the cour similar cow to the of white that we used for the lamp, but this is just for just as a base for now. We're going to be probably adjusting it later. For the tail, let's continue with the tail. I'm going to actually draw one using the pent and just make sure it's curved. That way we will have a better um, kind of a more cartoony look of it. Let's remove the fill, and let's add a big stroke. I'm going to adjust my shape a bit like this. Yes. And this first thought, I'm going to move it up here and, of course, change the color to be this weird off white color. Again, let's make these corners rounded. I'm going to open up the shape, stroke, change line cup in line joint round joint and round cup. From there, let's draw like the head. We are first going to start by drawing the head without the ears. This, change the field cover to this one, and now we are going to add the ears again on a new layer. I really like how these ears look. So in our design, let's just use, click and hold on the convert cortex, drag this one. Perfect. Move the anchor point here at the bottom and Control D to duplicate R to rotate it and just move it up here. Okay, let me change the shape by clicking G of this one because one of the years is kind of, uh, Yeah. Because the cat is sleeping after all. Okay, that's great. We're going to add her little pow here in a second. But we are ready with the basic shape of the cat. Let's remove the reference, and this is what we have. Again, I'm not liking a few things here. By the way, when you are like, drawing a design, you always start with, like, the basic shapes and then go from there, create the face, create the shadows, and just, of course, improve it, make it look better. For now, since this is my basic shape, this is like this is our starting point. And what I don't like about it is I feel like this head is too tiny compared to her body. This is kind of, of course, I know it's traced, and also it's, you know, the cat is sleeping, but still we are into animation. And so we can exaggerate things a bit to make them look better. In this case, I'm just selecting the ears, and I'm going to pair them with the head. Let's click Y on the keyboard and move the anchor point a bit and just kill it. 11. Finalizing the design of the cat': Alright, so now it's time to start adding some details to it to make it look even better. It's not that it looks good right now. Anyway, so yeah. I'm going to start with the head. That will kind of give me a direction for the rest of the body parts. And for now, I hide it the real image. I'm just going to use this vector file because I really do like the style of it, and I want to match it. So for the ear, actually, before we do that, let's name our layers first. Perfect. All these layers are now named. And let's start by adding the details. First, let me duplicate this here and I'm going to code this And I'm going to code this here inside inside of a year. Let's scale it down. Our anchor point is already fixed. So let's scale it down and change its fill colour to a darker gray, something like this. All right. Let me adjust the shape, actually, a little bit. It needs to follow kind of the same shape as the as the hair and this can be changed a bit too. I feel like it's a darker, it needs to be lighter, it's way too dark and creates a lot of contrast that I don't need. And this year, actually, we might see the year a little bit. Let's see from our reference, maybe like this. Again, as I said, we need to exaggerate things a bit. The year actually needs to be below the hair and then duplicate this, scale it down, and I am going to change the shape of it by just dragging this dot over here. This field cover is going to be the same as this ear and the whole ear, because it's in the back, will need to be darker. Okay, something like this, don't go into extremes. I think this is good. We might even not need this inside here part, but let's figure this out later as we go. Okay. Now it's time to create the face. For this, I am going to make sure my ears are printed to the head and yes, they are and I will rotate the head a bit so I can see just to straighten it up because it'll be easier to see the layers that I'm going to be creating. Let me isolate the ears and the head a bit and I will start by drawing the eyes. For the eyes, of course, we are going to use the ellipse to All right. Dulcate and one more over here. So, again, as always, we're starting with basic shapes to be adjusted later. These two, I'm going to move the anchor point at the center, and I realize the eyes need to be bigger. So I think this is good. I don't really like the rounded shape of the, so what I'm going to do would be to convert it into different layer that I can manipulate. What I mean by that is like what I can do here would be to scale it up and down, move the position, et cetera, but I can't change the shape of it. And the eyes are not like straight ellipse. So let's open up contents, Ellipse one, Ellipse path one, right click and click Convert you BzierPath. And that will allow you to manipulate the shape and just create the shape of the ice. Okay, this is definitely better. And from here, I want to change the fill colour to white. Just pure white. Okay. Actually, not that pure white. I think this is good. And now let's add the pupil inside, which is going to be huge because we want to create a more cartoony effect. And I'm going to change colour to a dark gray like this. Then I would like to mask it inside. So as you can see, the little pupil here is going outside of the eye. So let's duplicate our shape and bring it up here. Now, let's name this. That would be eye mask. That'll be pupil. Now, actually, that'll be deleted because I'll later on duplicate this. So the pupil needs to be masked again inside this other layer. So I'm going to click on the track mate. Just if you don't see it, make sure you click on this icon over here so that you can extend your tools and see them. See the right one. So click here and click I Mask. Okay. So our care looks a bit angry. In this case, we already added the pupil, and we want to change the shape, and we want the pupil to be inside the eye. If we change the original shape, the other like the mask shape won't change. So here's a quick hack for me. You open up the contents, you open up the ellipse, you open up path one, and you drag this ir kind of icon here and drop it into the original part of the original layer. So now, if I adjust the shape, as you can see, the mask is adjusting its shape with the other layer, which is very, very cool for cases like this where you need to test it to see it. And because I felt like the cat was looking really angry, which is typically the case with cats anyway, but, yeah, I felt might be too much. I just wanted to adjust this. So I think for now, we are good with this eye, but, um, I forgot to name this, that'll be I base. And then just duplicate it, all the layers connected to the I and make sure I mask two and pupil two are parented to the base. Click S to bring up scale and from here, change the scale to start with minus, so that'll flip it. Okay. Okay. I think that's good. Now let's add the nose. The stroke needs to be one here because they're not that thick. I'm going to make sure the anchor point is right here and duplicated. Then select it, duplicate the t, and just connect them like pairing them with one of them. And again do the same thing, scale and make it -100 and then move it yeah. A couple of adjustments I'd like to make. First, this stroke, change the stroke to two. I think it's a bit too thick for this cat to not look so angry. Let's adjust the shape of the mount a bit. I am going to add one extra layer that will be her cheeks. Now, let's go back and name our layers. Okay, the name is ready, make sure all these layers that we just created are parent to the hair. Now, if you remember, we rotated the hair in order to see the design of it. So let's now change the rotation back to zero. And move it up here. Okay. The head of our little care is ready. Now it's time to add some additional details in the design. For example, I would like to add a little chin over here, same as we have in our reference. So let's just throw a little line. All right. I actually like to add one more here. I'm going to speed this part a bit, and I'm going to see you in a few seconds with the ready shadows. Okay, so here's where I'm at. Added the shadow, added these little elements, and actually added a little leg over here because I felt like this looks better in our illustration. I might delete it later. We'll see. And the final thing I would like to do is move this little pi over like here and add a few shapes coming from here to here. To help form this little bow. And it needs to be behind the body, of course. And so this is the design of our care. Again, as I said, we might need to make some adjustments to it when we import it into the scene, but that's something we are going to do in the next lesson. So I'm going to see you very soon. 12. Final Composing: Hello, everyone, and welcome to the new lesson. Last time we were designing the care, and because we are ready with all the designs in the scene that we will be animating, today, it's about publishing some details and preparing some final tweaks before we get into animation. So let's get into it. Here's what we have so far. Let me open up our main composition. We should have our drawer, the couch, and the other drawer plus this line that serves as a ground. We would like to add the new lamp that we created first. So let's open up the lamp, bring it up here, and this is going to be placed on this little cabinet over here. And needs to be below the couch and above this drawer. So okay. I think this is good in terms of scaling. Mine is oh, and Sun icon. Again, as always. Mine is about 60%, something like that. Next, we need to add our flower. If you can't see it, you just search for it. This needs to be added here. Let me see. Okay, I feel like we need to make it larger. So Suncon let me extend it a bit. Yes. I think this is fine. Let's move it up. Here. Okay. Okay, great. And now for the fun part, let's add our cat. Oh, actually, let me go back in this composition and hide the cat vector from before. Okay, so this is our little cat. Let me scale it down. And okay. Yes. Okay. This is great. So yes, a few adjustments that I see. First of all, let's open up the care. Something that bugs me is this gap over here. It really does bug me. So let's rotate this leg a bit and make sure these are kind of or almost in the same kind of level. I think this looks better now. The other thing that bugs me a bit is this part over here. I just feel like the shape is a bit weird. So let me open up the body. I feel like this cat is huge compared to the other elements. So that's 33%, 25, in this case. Okay, 25, bring it down here. And I think here. Okay, perfect. A few more adjustments to the couch that I just saw. And then the other thing I would like to do is to scale this pillow and then copy this and paste it here. Okay, I just need them to be bigger, and I think it looks better. The other thing that really bugs me is this little circle over here, because you can see that this circle was at it after, and it really does bug me a lot. I think we're ready with the design. The final touches are there. Our like all the elements are designed. They're all in shape layers in After Effects, which is amazing. And for the next lessons, we are going to start animating them. So I'm going to see you very soon. 13. Animating the Drawer: Hello, guys, and welcome to this new lesson. Now that we have everything designed in After Effects, it's time to start animating and making it come to life. For those of you who decided not to design these assets in After Effects directly, you can find the project files attached here for the video pre animation. So these are all the compositions that are already designed in After Effects and the ones that we are going to start animating. So feel free to download the project and start from here if you're only interested in seeing the animation lessons. We are going to start by animating the drawer. And the reason for it is because I feel like this is going to set tone for the rest of the animation. The staging principle says that you can't animate everything at the same time because that way, the viewer is just confused where to look, and it's very chaotic. And so that's why I typically start with animating one element, see how it goes, see how it feels, and then continue the animation from there. Let's open up our drawer. Before we start animating, I want to make sure of a few things so that I don't have to fix everything later on. The first thing that I need to check is that all these handles are parented to the drawer. So for example, this handle needs to be parented to this, this handle to this, and you can look at the number of the layers. So this is five, and then here eight. Okay, now let's take a look at these elements over here on the top. Like these two, they need to be parented, and I see one of them isn't parented at all to nothing, parented to the back. So this is our shadow, so this layer over here. Um, and the front needs to be parented to the back again. Okay, this is important. Why? Because we want to have this as a master kind of file. The reason for it is because we are going to be making some adjustments to the scale of it and also to the position of it. And so we want to make sure everything is parented properly so we don't see any mistakes later in the animation. And the other final thing that we want to make sure of is that all these thrower layers, so this, this and this, these three are parented to the front. And the reason for that is because we want these to move with the front layer, of course. At the end of it, just go through your layers and make sure each and every layer is parented to something, except for the back layer, which is going to be empty because that will be our main layer that we are going to be manipulating and animating. Thing that we're going to do when we're starting an animation would be to create our rulers. The reason for that is because we would like this strawer to animate from the bottom of the screen, go up in the air, hold for a little bit, go back and rotate a little bit. You're going to see in a second. But in order for us to know what is the bottom and what is the top, we need to have this guide one thing I would like to do before we get started with the rest of the animations is to create one new object. New object is created by clicking Control O and Shift Y at the same time, and you can see now five appearing here. Click Enter and name this main. Next, parent your back layer to this layer. And this will be our main point of contact when moving this shape. So the way I like to animate and the way I would recommend you animate is to start with the basic movement first of the main objects and then adding the details. In our case, that will be animating the front and animating the back. So let me isolate these layers and isolate the main no as well. Click P on your keyboard and add one keyframe at the first second. Make sure you click F nine so that you can easy es. Frame, zoom in on your timeline and move this keyframe to about the 20th frame, something around. Then in your first frame, so move your pointer here to the first frame and move it down here. Go to the sixth frame and move your drawer somewhere around here. The animation that I envisioned for this is from the bottom, we go up, hold a bit, for a more cartoony effect, and boom. I would like this to stay static for about six frames. So go to frame 12 and copy and paste this keyframe over here. And the next keyframe should be on the tie. Frame as we already discussed. Click on position so you can select all the keyframes and click on this little icon over here that is actually the graph editor. So what we're going to do here will be to change the velocity of these keyframes to polish the animation and make it look exactly as we want it. In our case, so what I see here is actually the the value graph, I would like to change it to the speed graph. There are people used to using the value graph, but me personally, I prefer using the speed graph. It's kind of the same thing, different views, and to me, it's way easier to use that one. Those of you who already know what the graph editor is, you can skip this part. So what is the graph editor? The graph editor, as I said, controls the velocity of your keyframes. Let's do a couple of extreme so I can show you. I'm going to grab this like the shoulder of this keyframe here, and I'm going to adjust it to be something like this. So this is one way we can do it, where the fastest action is at the start. So it's like, boom, and then we stop. So this is actually the idea that we're going for. But let me show you the other options so you can see what the graph editor does. So yeah, so do you see this option here? So what this does is it goes so, so fast, slow. And the fast is towards the end of the keyframe. This is a super, super simple explanation. There are a lot more things and more details related to this graph editor, but this is part of another lesson. So for now, I think this is enough for the needs of this one. In our case, as I mentioned, we needed to be at the start. So it's kind of a kick start. With this and then go slow so so. Just make sure, by the way, you don't move these because that's actually changing your position, and we don't want that. So we want to keep the same key frames as we had before and just adjust this graph. So let's grab this, hold shift, and move it to the left and same here. Just make sure it's the most extreme curve we can do and we're allowed to do. So Okay. Okay. I think this is good for now. We might need to adjust later, but for now, it does the job. Now, in addition to the position keyframes, we're going to create some rotation keyframes. So click R on your keyboard, at a rotation key frame and click F nine on your keyboard, easier. Then you can click U so that you can see all the keyframes you're working with. And at the start, the rotation will be zero. And then we're going to go to the third keyframe that we created at about 12 frames, and we're going to change this to two. From there, we would like to change this to zero, and it will look like this. A couple of things I would like to add next. The first thing that I would like to add is to first make sure that this position keyframe and from the graph editor is way, way, way faster. So this is too slow. So when this box is falling down, it can't just, you know, slowly, slowly, slowly fall because this is not how gravity works. So this is how I adjusted it to be. So I don't want it to be super extreme like this because otherwise it's too slow at the end. So just make sure this right keyframe is at maximum holding shift. Again, what we want to do would be to make sure that once this drawer kind of lands on the ground, it shakes a little bit. We would like to go to about 1 second. Move the position up and at the same time, the rotation to minus three at about 1 second, six frames, copy and paste the first keyframe. We do have little pauses in this, so it's not like everything happening all at the same time. It's like we go up, pause, go bum, bum, bum, bum. So this is kind of the temple that we're going for. So here, I would like to still make some adjustments to the graph editor, so opening up the editor right here and just making it a bit more extreme over here, and it should look something like this. The last thing that I'm going to do for these keyframes would be to offset the rotation, click rotation, grab all the keyframes and move them frames in. The reason why we do that is because we don't want every key frame to be in the same position, same place as the other keyframe. So position and rotation because that makes the animation look really robotic. And yes, okay. So this is our main animation of the main parts of the draw. 14. Animating the Drawer Part 2: I'm going to now focus on the front and the back of this drawer. Let's start with the back. This is the layer that everything is parented to, and so we want to make sure that whatever we do, it's not super extreme because otherwise, everything will look weird. I'm just going to add some key frames for the scale. So adding one at the start is easing it with F nine, and I'm going to go to this frame, the second main keyframe that we created, and I'm going to just make this a little bit like this. Then I'm just going to copy the same keyframe. By the way, what you can do instead of copy pasting layers is just to click the icon here and duplicates the previous keyframe. Now, let's go to the next one here. I'm going to copy and paste the first one. But just, um, squish it down a little bit for the last keyframe, of course, copy and paste the first one. So this is what we have. Okay. So do you see how this creates a more kind of again, a cartoon effect and just makes the animation more alive? Well, yeah, that was what we were going for. Next, let's adjust this front layer. Again, click S so you can bring up scale and easy easier. Then from here, what we would like to do would be to extend this a little bit. Before you change the scale, make sure that your anchor point is right here. So that is center right at one here. Here, just copy and paste the first one, and we won't have any additional keyframes for this. So it'll be only these. So now, it creates this fake tree D where it's kind of as if this door is rotating as it's going up, which I find very, very cool. And again, as always, we need to offset these. For this, I would like to offset these with three frames, and for the back, actually, with just one frame. So let's see how this looks. Okay, for this one, I'm going to make some adjustments. Let's make this one frame, and let's make this three frames. Actually, just switch these. Okay, perfect. Let's isolate everything so we can see. Okay. Okay, I think we're good. The next thing we'll need to adjust would be the stop layers because they move kind of it's a bit weird that they're not moving. So the lighter layer is connected to this. So let's actually first adjust this. Add the scale, a keyframe easy easier and go here. Scale it down a little bit. At the same time, I'm going to do the same with the front layer. Just seeing it now, the anchor point, if your anchor point is here, too needs to be here. Ah. And then you might need to adjust it a little bit to make it fit. Okay, perfect. So going to this key frame over here, I would like this to be the same kind of, like this and at the same time, this needs to be fixed as well. Okay. And then copy paste the previous keyframe, and here just copy and paste the key frames from the start. And this is what we have. Okay, our base is ready, and now it's time to move on with animation of the drawers, like adding more and more details to it. Okay, so first, do you remember how in the lessons when we were designing it, we actually created a couple of layers for these. We have the handle. The drawer and the back. So the back is what is going to be seen when we move this. And I would like to for now, just select the drawers, not the backs, but the drawers. And I'm going to click on position P to bring up position and F nine toes those, and I am on frame ten of our animation. Now, go to frame 17. And select all these three again and move them to the right like this. Now go to frame 22 and copy and paste the previous keyframe so we're going to have a pause for this two and then go to 1 second, five frames and copy and paste the first frame. Now select the second keyframes. Right click and click total hold keyframe. The reason for that is we don't want to have any movement here because that would be a bouse. Select the first two keyframes of each of these layers and open up the graph editor. Select the right part of it and hold shift and move these like this. Okay. Now, do the same thing, select all the right yellow dots and the left ones and do something like Okay. Time to offset it. We would like the second drawer and the third drawer to appear after the first one. So it's going to be one, two, three. Let's play it from the start. We actually did it the other way around. Sorry about that. So let's just this and because I drew them. Okay. I'd like to now select the final key frames and move them to the left a bit because I feel this is a bit slow. Regarding the timing, I'd like to have a bigger pause here. One last thing I'd like to do is I'd like this final drawer to close right after the animation. So it's like something to finish it up, you know. And because of that, I'd like to create one middle keyframe here where I'd like to make it move right a bit before it goes left. Okay, so we're ready with the animation of the drawer. Let's go back to our main composition so we can see how it looks. And let's hide the cat for now because we don't really need the cat. Okay. And one thing we are going to do here would be to again, offset these two animations because as you know, these two are the same. However, this one in the back, we would like to appear later because otherwise, it's just weird. Let's just click on the drawer and create a mask like this. And the mask tell us that this is the only place where we are going to see this animation. Okay, perfect. In the next lesson, we're continuing with the animation, so stay tuned and I'm going to see you soon. 15. Animating the Flower: Hey, guys, and welcome to this new lesson where we are going to be animating the flower. So let's get into it. There's so many layers, and this is because of the leaves, and as always, we are going to start by making sure everything is parented correctly. I can see some of these things are not parented right now and we want to avoid having to fix everything later on. So let's do that first. First, of course, as you know, we have these little lines that are part of the leaves, and they are parented to each leaf, which is great. However, I see that all these leaves are not parented to anything, and we're going to fix this now. So just note where it says none and select the ones that do not belong to anything. I'm going to parent them with one of the branches. So this one. And this is not so important now because all these branches will be parented to the main branch, this one, and the main branch is going to be parented to the pot, this over here. So this is going to be our master layer, right? And this part over here, again, parented to this one, the soil, of course, needs to be parented to the pot. So one thing I'm noticing straightaway is that the anchor point is not where it's supposed to be for the soil, so let's change it. Like, again, using the anchor point mover or just Y on your keyboard and move it. And the next thing that I want to make sure of is that the anchor point of the pot. So our main layer, this one is right at the center, the bottom center of. And so now I will start again, as always, by isolating these three things like all these pot layers and the soil, and I'm going to start animating the little pot. However, we're going to do a slightly different animation, since here we are animating a flower with different techniques. Zoom in a little bit on your timeline. Click P on your keyboard and add a position key frame here, F nine to Easy Easier. Now I'd like to zoom in a bit more. And move these to about 19 seconds, right? Okay, great. For this animation, though, we are going to make this plant come from the top and just land where it is now. So in the first key frame, move it up here. Okay? Okay. This animation is a bit slow and we would like to open up the graph editor. And if you see the value graph and not the speed graph, as I explained in the previous lesson, just click on this icon here and click Edit Speed Graph. All right. So now what we want to do is to make sure the movement at the center is faster. So boom. Yes, this is exactly what we want, and I'm going to explain why in a second. Close the graph editor, click S on your keyboard. Add a keyframe for the scale and F nine to ease it. Next click U so you can see all the key frames that you have and move this scale keyframe right here. So right below the position keyframe. And for this first keyframe, we would like to just scale a bit. So we want it to make it wider and more narrow like this, Ar. And this is what we are going to get, which is great, in my opinion. Next, let's open up the graph editor and click on the most left dot over here in the right one, and Okay Okay, perfect. However, now we can't leave it like this. It just doesn't make sense. If we have such an extreme pulse here, we will need a couple of more keyframes to make it stable and to make it look more realistic. Which is why I'm going to go to 1 second four frames over here and copy and paste these keyframes. However, I'm going to add key frames in the middle. So in the middle, which is the 26th frame, we are going to wrap this and make it go up a bit and go back here to the second keyframe and make it squish it a bit. Squish it like this, which looks great to me. But let's make this a bit more extreme. I'm going to move these two keyframes to the right to adjust the timing a bit. I think I like it better. So to summarize first keyframe, the second keyframes are on the 19th frame 28 and 1 second 13 frames, which I think looks good for now. Next, we are going to be animating the branch. 16. Animating the Flower Part 2: Next we're going to animate the branches, and we are going to animate them using an effect that I very often use in animation. It's called trim pads. The way this animation looks is as if you're kind of drawing on the screen. It's like the line draws itself, which is pretty cool for objects, again, that have only stroke and no fill. So let's just isolate our main branch. So branch. This is the one. And we are going to open it up, open contents. And do you see this little option here that says add, just click on it, and then select Trim Paths. Okay. So trim paths, the trim paths option gets added to your contents, and from here, you can add a keyframe for the end. Click F nine to Easy Easier and bring it, I think, somewhere around here around our final keyframe position, this one, the second keyframe should be 100 and we should start with zero. So this is what we have. Okay. This is great. One thing that I'm noticing here and one thing I would like to fix is these like edges here. Again, as last time, we just make sure you open it up, open the stroke, and then change to round cup and round joint. So that'll create kind of a rounded edges, which I find better. And now, what we're going to do will be to copy these keyframes, so the key frames from the trim pad and unisolate the branch. And let's see how this timing works now. Okay. I think I'm going to switch them a bit, just move them to the left. Because I want these branches and let me isolate the pot, the soil and the main branch. Okay, great. Yes. I think this is the timing I'm going for. I would like this to start animating as soon as the pot reaches the ground. So I think this is I think this is perfect. And that being said, I'm going to select all these other green layers and just click Control V to paste the trim pads effect that I previously copied. Click. You can see them O, and now it's time to time them. So, as you can see now, it's kind of a bit all over the place. All of them appear at the same time, and we'll need to offset them one by one. So I am going to grab this little fellow here. And one thing I'm noticing is that it animates the other way around. There are two ways you can fix this. The first way is to animate the start and not the end from the trim pads effect, which will probably take more time. So in this case, I'm going to do a very simple trick. I'm going to open up shapes, the pad, and I'm going to just change the direction of this pad. So it's as if it's starting the other way around. So now that I've changed this, I'm going to time it with the main branch because I would like this to start appearing when this part is drawn because otherwise, it looks weird. And so I'm going to do the same thing with the rest of them. And whenever I have, branches like this, I'm going to change their direction with this button. So let me speed this part up and I'll see you in a sack. Okay, this is how my animation looks so far. I think it's pretty good. We're going to start by animating just one leaf, and then we are going to copy and paste the animation for the rest of them and offset everything. So for now, let's start animating this leaf. I'm going to click B on my keyboard so this is so I can change the start position of my timeline. We will be animating the scale and the rotation. So I'm adding one initial keyframe here for the scale, and I'm going to easy easy. Right now I'm at around 1 second, 15 frames. I'd like to change add I would say I'm not sure yet, maybe 15 to 20 frames, but we're going to see how it looks, and we're going to decide on the timing. For the first frame, this is going to be zero. Yes. And yes, this right now looks weird. So we are going to open up the graph editor and make sure it's, um, adjusted to something like this where the fastest part is at the center, and we are now going to add the rotation. So click R on your keyboard, add rotation, keyframe F nine, N. And then we would like this, like this first rotation to this keyframe that we added, we want to move it here. And then at the start, let's play around with it. Let's see how that Okay, I think this is good, but in order to make it more realistic, we'll need to add a couple of frames in between these shots. If this is our first extreme pulse, that will be our second one, but it doesn't look very extreme to me. So I'm gonna rotate it a bit more, and then I'm at around 2 seconds. Let's move this second ten frames and move it the other way. Like this, then I would say, 2 seconds 25 frames, copy and paste the first keyframe, but make it a tiny bit more rotated for the last one copy and paste the second keyframe. Now, all these, I'm going to select them and F nine to easy ease them. If you have the keyframe Wigman, which is a free plug in, I'll recommend you use it, and I'm just going to smooth these to 30%. That way, I think I'm going to have a smoother motion. And I think this looks good. What I'm going to do, though would be to just select all the rotation key frames and offset them as always. This creates a very kind of nice flow of the video. There is one position that's super extreme to me, at least, and I'm just going to smooth it up a little bit. I just think it goes way up and it doesn't look very natural. And same for this one, just a tiny bit less movement, yes, something like this. Uh, right now, the next step that I would like to do is to copy and paste this animation to every other leaf. To do so, I would like to just first hide all these little lines are part of the leaves because they're honestly confusing to me. So let me select them. What you need to do would be to click this icon and they are going to disappear. Some of these leaves, they have a different scale like different scale options. For example, this one at the end is 77, but this one is -77. So the best way to approach it would be to select all of these, click S at their key frames. Instead of copy and pasting this one, select all of them, go to the first frame and just enter zero. That way, all of them will animate and there will be no flips or, like, weird motion. Again, open up the graph editor and just select all these keyframes on the left and all these keyframes on the right, and it should look something like this. Perfect. Now, we're going to copy rotation because the rotation will be the same pretty much everywhere, except for the leaves are facing the other direction. So we need to copy this, this, this this and this, not copy. I'm sorry, I meant select and then just paste. The problem is that the rotation is obviously not the same everywhere, and that needs to be adjusted. So go to your final frame over here and just select them leaf by leaf. Click on rotation and just select all the keyframes related to your rotation and just rotate your leaf where you want it to be. What this does is it changes all the previous key frames so that they correspond with your final position that you have just selected. And you don't need to go back and fix every other keyframe in order to fix your animation. You just have to select them O and select one kind of new key position for the rotation and adjust it as needed. I'm going to do the same with the other layers, and I'm going to see you in a second. Now, of course, we need to offset them. I'm just going to do it randomly. Right now, I'm just moving this in the timeline. Now it's time to fix the left part and the left leaves, and we are going to do that by first of all, just checking where our rotation was for this first leaf. Here we go. We're going to just copy the same thing, but of course, with the other leaves. So let's select this one. This is on the left end. We're going to click R on our keyboard and at a rotation key frame over here. Then this same keyframe is going to be moved here click, so you can see them all and now let's start rotating. I would like this one to start from here. Go there, like up a little bit. Then here, we're just going to be facing the other direction for a bit. Then at this second, make it go up, and the final frame is same as the second keyframe. Okay, I think this is fine. Again, if you have the keyframe wigen you can just select all the keyframes and make them at 30%. Now, let's do the same thing by copying all the rotation keyframes and facing them to the other leaves. And same as in our left side leaves, we are going to need to adjust them. I'm going to do that now again by selecting rotation and just fixing it, and I'm going to see you in a second. Oh Okay, now that I'm ready with the rotation, let's offset them. Again, I am going to just do this randomly. Now I'm going to select all the green layers. So these are our leaves, and I'm just going to move them here. So I want these leaves to start appearing with the branches so that we can create some nice timing of this whole thing. And I'm going to play our animation from the start to see what we have done so far. Great. Okay, amazing. Thank you so much for watching this lesson, and I'm gonna see you in the next one where we are going to be animating the lamp. So see you in a few. 17. Animating the Lamp: Hello, guys, and welcome to this new lesson. Today, we are going to be animating the lamp from our illustration that we previously created in After Effects. And this is the animation so far. Still working on the timing that will be fixed at the end when we have all these elements animated separately. So let's get into it. Okay, so this is the design of our lamp. For this one, I'm going for something like this, where, and by the way, yeah, it's a bit pixelated, but you see what I mean? I'm going for something like this where we have all these elements kind of built on each other and are animated one after the other using very simple effects in After Effects. So let's get started. The first thing I would like to animate, of course, is this base. So I'm going to just isolate the space, click S and just animate the scale. Zoom in on my timeline a little bit, and let's move this keyframe to about 1 second, maybe too so, but we're going to see. Next, I'm going to click on this little icon here. This constrains my proportions. I don't want to constrain my proportions. Now I want it to start at zero, that would make it like kind of reveal this way. And let's see what we have. Yes, as I suspected, this is too slow. So let's move it to about 15 frames. This is how it looks now. I think it's nice, but let's fix it a little bit with the graph editor. And so, yes, selecting this. And actually, I'm going to just move this, more towards the right keyframe. Yes, something like this. Not exactly in the middle is what I'm going for. Let's un isolate it, and we're going to continue with the animation of this line over here. Again, click S, so you can see it. Oh, let me close the graph editor. And I'm going to actually place this keyframe over here and I'm going to offset it later. All right. So at the start, again, click click on this second, so you disable the constrained proportions. And this time, um, make the second amount zero. For this one, I'm going to move it to about 1 second. And let me again, adjust the graph by just remember to select all the points on the left. Same for this one, is going to be more towards the right keyframe, not exactly in the middle. Okay, perfect. There is one more element here that needs to be animated and it's this one. I'm going to move the anchor point to be here at the bottom, and I'm going to actually for this one, just copy the key frame from the line and paste it, close the graph editor for a second, and make this faster. We're going to adjust the timing in a second. Yes. This is how it looks now. Let me do a preview. Okay, perfect. Just let this line delay its animation for a little bit. Yes, this is great. Alright. And now, I would like to animate this white part. And from the tutorial, if you remember, we have, like all these details from the lamp and that we parinted to the white layer. Let's just hide them for now and click this icon because there are just a bunch of layers that overwhelm me, to be honest. So for this one, I'm going to change the anchor point to be here at the top. And I'm going to add a keyframe for position, scale and rotation. Click so you can see them all. I see there is a keyframe added for the anchor point. Just click this because we don't have we don't need a keyframe for the anchor point. So like these three and F nine to easy ease them. And let's move these to about the two second mark, and we're going to see if we need to adjust later. And so this one, I would like to actually start at 0%, so I would like it to animate. And I'm going to move it here at the top. So yes, so it'll come from the top. Okay. Okay, great. This is good, but now we need to add some rotation to it. At the start, I'm just going to make it like 36%. Okay, great. And now let's add some in between key frames to make it look better. If this position is 36, let's make this minus eight. Okay. Then I would say 2 seconds, 20 frames, make it three. So plus three. And then a couple of frames after that, make it minus one, and a couple of frames after that, just make it zero. So let's look at the timing. Okay, a bit too slow. Select all these three, move them to the left. Okay. Okay, not too bad. Although this might be faster. Let's see. Okay, great. Now, let's offset the rotation only. And let's work on the timing. I would like this whole animation to start somewhere around here. So all these things should happen kind of at the same time so we can have some nice motion. All right. Just change the anchor point to be here at the top. And a quick trick that you can do would be to click on the left bracket so you can move this layer a bit, click S on your keyboard, ease this, and move it to the right, just a couple of frames after that and make just again, click on this layer and change the second the second figure to zero. Okay, great. Let's play our animation. Okay, that's amazing. Going back to our main composition, this lamp would actually animate with the cabinet. Where is my lamp? Or, here we go. Once that's finished, it'll start here. So let's see what we have so far. The timing of the flower, by the way, will probably need to be adjusted, but I'm pretty confident with our lamp animation. That was probably the easiest animation. And in the next lesson, we are going to be animating the couch. I'm very excited for it. Thank you so much. And I'm going to see you in a. 18. Animating the Coach & Finalizing: Hey, guys, and welcome to the new lesson. Today, we are going to be animating the couch. So let's get into it. For now, we are going to keep the animation straightforward and fun. So the couch will be sliding from the right side of the screen and then stopping at the center. However, in animation, when you want to stop a movement, Um, in order to make it more cartoony and natural in the language of animation, it's better to have a follow up action. This is the animation I previously created prior to starting the lessons in this course. So we're going to recreate this now in our file. I'm going to create one master no object, which will be like the node that will be controlling the whole thing. And then we're going to create individual null objects for the different elements. So you can do that by clicking Layer, New, and then New Object or Control Shift O and Y on your keyboard. And it creates this new object that we will use as a parent. So it's one object that will control multiple layers. That's the purpose of the Nu. Let's click Enter and let's name this main. And from here, I'm going to see which one of these elements don't have a Nu. This is, for example, one circle. And this circle, as you can see here, is parented to the pillow. So this one, the base. And if this is parented to this one and this is parented to remain nu, then everything is parented to this new. That way, it's very easy to manipulate and add one keyframe instead of multiple keyframes at every single thing. Before you parent anything to the nu, make sure it's right here. So we want it at the bottom and at the center of the object. We're going to be creating the main action. I added a position key frame. I'm going to click F nine to Esser, and let's bring this around a second and a half, so something around here. Then let's go at the start and just drag this here. I'm going to go to my main composition. I can quickly access it from here. And then if we click on the sun icon, it shows everything, even if it's not within the canvas of the pre composition. I see now that this is a bit too slow for me. I'm going to move this second keyframe to be at the 1 second mark. Here we go. Okay. And now let me quickly open the graph editor. I want to make sure I edit the speed graph, not the value graph. And I'm going to click on this, and I'm going to bring it down here. Let me grab the second point to and just make a very kind of pointy graph of the graph editor. Now, let's add some rotation to it. I'm going to click R archy frame for the rotation, click U and then F nine to EZ Es. Then I would like it to start somewhere around here. And I want make this just a very, very small rotation. Let's say, two, and then here, I want to make it minus one, and at the round 1 second, 18 frames, just make it zero. There will be another animation of another element, but I think adding a little rotation of the whole couch it makes it nice. Okay, so now that we are ready with the main animation of the couch, let's animate this part, like, kind of the back of the couch. So what I'm doing is selecting all the elements related to this element. So the back. And so if I click on this icon here, I can see that this is exactly what I want. That being said, what I'm going to do would be to right click, click precompose, and I'm just going to name this back. Okay, nice. So what just happened is that because this precomposition was parented to the main nu, and we now precompose it. I, as you can see, doesn't move because it's not parented to the nu. So go at the start of the sequence and just parent it again to the main nu, and we should be okay. The other thing that I'm noticing is that this is not where it is supposed to be. So just make sure it's yes, it's above the back pillow. So above these layers. Okay, so now I'm going to click on this back on this new precomposition we created, and I'm going to click Y on my keyboard so that I can bring the anchor point. The anchor point needs to be moved somewhere around here. Okay? And I'm going to be animating the rotation. So let me go to where this keyframe is. So this is 17 frames. I'm going to click on R, and I would like this to be five. Then at the 1 second mark where this k frame is, I'm going to make it minus two. And then here, I'm just going to make it zero. We might need another two key frames, but let's see. I'm going to go at the start to preview it. Okay. Well, yes, I think we do need to make some adjustments. So instead of minus two, let's make that minus six. And then here, let's make it three. And at around two second four frames, let's make it zero. Okay, let's see how that looks. Okay, so now it looks pretty robotic. And what we want to do would be to adjust the speed of these key frames so that we can make it cooler. One thing I'm going to do would be to grab this first dot and hold shift and move it like this. And then this one, as well. And I want to make sure, okay, this is a bit too extreme, maybe not that much, but something like this. Then from here, I'm going to grab this dot, hold shift, and bring it to the left. Okay, and same with this. So what we want to do is to make sure it's a motion that's realistic and it's cartoony. It's not just robotic. Okay, so we need to make some adjustments to the timing. I would grab this one and bring it more to the left. And then I'm going to grab this one and move it to the right. So it looks something like this. Also, this is a bit too big of a pause for me, so I'm just going to, yes, adjust it like this. And the last thing that I want to do would be to hold control and click two times on this ski frame. So that will make it a continuous key frame, and it would look as if it's just one motion instead of separating it with the EZ E ski frame. So yes. So this is what we have. Final edit. I'm going to move this first key frame a little bit and maybe this one a bit. Feel free to play with the timing, as you can see fit. It's one of these things that you just have to try it to see what looks best for you. Okay, one last thing we're going to apply to this bag it's the CC bender effect. You can find it in the effects panel. Just search for CC bender. And apply it to your couch. When you do that, you will notice there are two little circles. One is over here and one is over here. So make sure you bring it way above so it doesn't cut your precomposition, as you can see here. So just move it up like this. And then we would like to animate the bend. Click so you can see these key frames. And of course, this first one that zero should be where the first keyframe is. Then where the second one comes, just make sure you bend it something like this or whatever you see fit minus -17. And then here, the third keyframe, I'm going to make it 13, and then at the last keyframe, I'm going to make it zero. So it looks something like this. Now, the timing, of course, will need to be changed. For now, I'm just going to select all of the bend keyframes and move them to the right, so it creates some nice motion. I feel like this one needs to be faster. And this one to. So let me grab these two key frames and move them. Yes, I think this is good. One thing that's happening here is because of the CC bender, you can see that this part is being cut off. So in order to fix this, add a keyframe for the start and end, click and just move this here. And then at the start, move this dot here and this dot here. Let's open up the main composition so that we can see what we just there. Okay, I think this is good. We might need to adjust the timing, but we can do that later. So now we are going to animate the pillows a little bit. The pillows are very essential because they create an extra motion, and it's always good to animate a couple of elements within the same element, so it looks more natural and fun. What I will do, actually, would be to remove the parenting. So that way, I don't need to worry about the precomposition out of canvas again. So right click, precompose, and I'm going to name this pillow back. Okay. Make sure the sun is clicked and make sure this is parented to the main no. Then we are going to select the other pillows. And again, just remove the parenting for now, precompose, and name this pillow front. Make sure the sun is clicked and parented to the main no. Now, I'm going to click Y and change the anchor point once again to be at the bottom and at the center. And then same here, let me just isolate it. This will be somewhere around here. Okay. Now let's look at the timing and see where this will fit. I think somewhere around here would be a good place to start these animations. Let me select both pillows, P on the keyboard. I'm going to animate the rotation as well. So R. Now, a few frames after mine in my composition is 22 frames at about 28 frames, select these, make them go. Up, rotate this -11 and then -11 is fine for this, too. Just make sure this is going a bit higher so that it's not robotic again. I saw something here. It's from the bended effect again. I'm just going to add another key frame to fix it. Okay, these pillows go up, and then we want to make them bounce a bit. So let me copy the first key frame paste. Same here, copy and paste it. And then make this go up a bit, just a couple of frames, just a couple of points above and copy and paste the first initial keyframe again. So okay. This is how it looks. One thing I would like to adjust is the first keyframe. Let's make this, start okay, start going up sooner. So 15 frames. Perfect. Bom, bom, bom. Okay. So two things now, I would like to offset the rotation, all the key frames related to the rotation. Do you see the difference? It's less robotic, for sure. It just makes it more fun. Same here, the rotation will be offsetted by two frames. So it's like boom boom boom. Alright. And now the front pillow will actually be a bit faster than the first one. So the whole pre composition will be offsetted as well. Yes. This is how it looks now. Perfect. Let's go to the main composition. To see our new animation. Okay, great. Thank you very much for watching, and I'm gonna see you very soon. 19. Animating the Cat: Hello, guys, and welcome to the new lesson. Last time, I decided to do something interesting that I didn't plan in this initial course. And this is to add a little cute kit in the composition that I figured will make everything more cute and more engaging and more fun. Going back to our original composition, I intend to add the ket here. Once again, I was hesitant whether to add it here. Or here. But I feel like I feel like this drawer is a bit empty anyway. So I feel like maybe best if it's here, but it's up to you. If you want to add it to the couch, you need to parent it to the back of the couch in this precomposition. So basically follow the same logic that I'm about to tell you here in this lesson, do it in another precom. If you remember, we did create two precompositions because we have two drawers, this one and this one. And these are duplicates. If I change something in this one, like, for example, if I add the cat here, it will appear in the second one too, because these are basically the same pre composition in the same animation inside. What we want to do would be to duplicate it. So it's the same animation that we don't need to draw and create everything again, but it's a separate pre composition. So if we change something in it, it won't change in the other one. Let me right click here on a drawer, click Reveal, and then reveal layer source and project. We can find it here. Now, click Control D, and you can see it creates another precomposition named drawer two. Just drag and drop it here. Then make sure the sun is clicked. And then from here, open the original drawer, select the mask and transform and control C, then control to copy paste the default position and the masks. And now you can feel free to delete this one because we don't need it anymore. So I'm just going to copy the precomp of the Kat. I'm going to go at the start of this, and I'm going to paste it. Now this cat needs to be here, and I'm going to scale it. Let me zoom in. I think this is fine. Now, I would like to paren this to the main. No, that was created. We're going to create some nice motion. I'm going to click P, and I'm just going to move the whole cat, basically. So that's frame six. Default position will be at the start. When this drawer is up, I would like the cat to jump, as well. Now, let me click U so I can see where these are. Let's copy and paste the first keyframe at around 15 frames. Okay. Actually, I would like to make some adjustments. This one, the second keyframe, let's move it to 11 frames. And this one, let's move it to around 24 frames. So now, it should look something like this. I would prefer my kit to go up a bit more just so it creates some nice contrast. And now let's just move this one, the last key frame, a few frames. So that will be at 22 frames instead of 24 frames. So now let's open the precomposition of this little kit, and let's make some nice motion to it. I already did some parenting here. There are just some things that I see that are not parented, so let me quickly do that. Okay, everything is now parented. It would have been better if I worked in pre composition here, but I was trying to design it so that I can see if it fits. So there are no precomps. Let me quickly go back to here and make my pointer at the second keyframe so around here. I'm going to zoom in in my timeline and add a little marker. So that would tell me that this is the position where the cat is up. And same here, I'm going to add another marker here. This is where it lends down. So the head, what I wanted to do is to rotate it a bit, a few frames after this first marker. Let's add a little rotation. And actually, another thing I'm just noticing is that this shape over here, I want it to be behind the head. Okay. And then going to repeat the same keyframe just a few frames before the second marker, and a few frames after I'm going to copy and paste the first one. So it's a very minimal motion. It's not really a character animation that much. It's more about just making it more natural, I guess. And the other thing I want to do is something very cute, that'll be with these little moustaches. I'm pretty sure I'm not pronouncing this word right, but anyways, let's add a rotation here. So when it goes up because it's up, I want all of them let me select the tree. They're all parented to the to this one. So like this, like this and like this. It looks a bit unrealistic, but it's just so fun. It's so weird. Weirdly fun. Alright. So same here. I'm going to select these and a few frames after this time, I want to make them a bit slow to land because I'll create a nice a nicer motion, actually, even slower. Okay. Actually, even slower. It'll be very slow to land because I think that will create a very nice motion. And now I'm going to offset all of them. So it looks more weird and more fun. I'm going back to my main composition. Okay, a few things more for the cat that we are going to do. First is to make her blink. I don't know if why it her. Might be him. I don't know. One thing to keep in mind for this eye movement is that I want to have like the pupil is here. I have the mask. The mask is parented to the eye. So this, however, I don't want the pupil to be masked in this. So I'm going to just change the pupil to be parented to the head instead. That way, I would like to add a scale to the eye and two frames after I'm going to squish it like this, wait for two frames, and then two frames again and copy the first key frame. Okay. You know what? It will actually make more sense if its eyes are closed when it's up. So I'm going to make it blink one frame before the marker. And then these keyframes, I'm just going to move them right here and extend them a bit. Okay. Let me now copy. Just click scale. So you can copy all the keyframes, and let's find the other e. So same here. This is parented to the eye, which is great, but the pupil again, needs to be parented to the head. Now, click on the I and just paste the scale keyframes. Okay. Let me make it blink one more time. Here. And here. And then I think at around 4 seconds, let's make it blink again. Okay. It's very cute. Very cute how's blinking. Let's now animate the tail. So the tail has three layers attached to it. There is this shadow. There is this shadow, and there is the actual tail, like the base. However, the problem is, is that I want to change the shape of this. Right? And if I do, look how this element like this shadow is not moving with it. And this is a problem. The way I created this cell was to actually duplicate the main tail and just add a little mask and change its color. So here's what we are going to do to adjust it. We're going to open up layer tale two and tale three contents and shape, open up shape, and open up path. Now, open up the pad or the main tail, right? Okay, so now grab this thing over here that's a parenting to and put it down here. So what this does is that now, if I change the shape of this, as you can see, it stays within the mask. There is just one problem here that we are going to fix easily. So, okay, so now we need to do the same thing with the other one with the other layer, open up the swiroHld the swirro icon from the path options, drop it to tail. So that's the main layer. All right. Now, let me unisolate this and I'm going to, since I'm already here, create a path key frame of this cell. So let's now make it where the marker is. I won so the cat goes up, right? So we want tail to probably be something like this. Then when it goes down, I'm going to copy the first keyframe, so it'll be like this. Let's see if that's weird. No, I think it's fine. Okay. Now just to make the animation more dynamic and cool, I'm going to animate the tail until the first second mark. So until second four, I would like it to move. So my next keyframe is 1 second. At 2 seconds, just make it click G on your keyboard. You might need to click it a few times. Let's see how that looks. Okay, great. That was it for today, guys. I hope you enjoyed this lesson, and I'm going to see you very soon.