Dynamic Logo Animation: Morph Icons in Adobe After Effects

1. Trailer: Logo animations are the perfect way to kickstart your after effect journey. If you're already familiar with the software, learning how to animate locals will bring you one step closer to becoming a master animator. A well crafted custom logo animation typically costs 1000-9 thousand QS dollars, offering brands an excellent return on investment. However, coming up with ideas on how to animate Ems and morphing them afterwards can be challenging, especially if you're a beginner. This class is for two of my logo animation series. Alongside classes covering mascot logo animation and typography logo animations. This motion graphics class caters to beginners and intermediate motion designers looking to enhance their after effect skills and master the creation of stunning logo animations for potential client projects. Whether you're a designer aiming to animate your work or a beginner motion graphics designer, this course is for you. Hi, I. Mina, the CEO and founder of Cashew. I have over seven years of experience, and I have collaborated with brands like Nissan, Yale and Unicef as a mentor and coach. My community has grown to over 60,000 individuals. Throughout this class, I'll guide you to creating these morphine icons, animations in after effects. Here's an overview of what we'll cover, Generating ideas for logo animation. Preparing your logo for animation, animation techniques, navigating aftereffects. And adopt illustrator working with key frames, manipulating shapes, ensuring smooth animations, exporting the final product. I'll delve into the ideation stage revealing the top process behind it. By the end of the class, you'll confidently create similar animations. These techniques will empower you to generate ideas and craft your logo animations utilizing the knowledge shared here. Project files will be provided along the way for your independent practice. I'm thrilled to embark on this learning journey with you, so let's dive in. 2. Orientation: Hey, they're future animators. I'm a, and I'm here to teach you something pretty cool, how to morph icons to create a logo. Animation. Icons are stable in explaining videos and learning how to morph them is essential. In this class, you're going to recreate this morphing icons logo in after effects you receive all the files to play with after each lesson. If you're new to this, simply follow my lead. At the end of each class, download my files, mimic my moves, and don't stress about perfection. It's like learning to ride a bike. The more you practice, the easier it gets. Here's a tip. Follow my actions in the course and try to create it yourself without peeking at the files. This way you memorize the techniques faster for this journey. Ensure you have after facts and adopt Illustrator on your computer. Make sure they're newer than 2022. Once you're ready, post your work in the project gallery so I can review and give you feedback. This logo is created by my friend Martin from Yes, I'm a designer. Excited to get started. Let's make some annuation magic happen. 3. First Icon Design in After Effects: Hello guys and welcome to this new course. This course, I will show you how you can create this morphing animation. We are going to be morphing these cycles, and this is the final result. We have a lot of work to do, so we are going to get started in a minute, but it's a pretty long animation. It's actually 15 seconds. And there are a lot of things here that I can show you and a lot of techniques that you can master after this course. So I'm very excited and let's get started. The first thing that I want to talk to you guys about is the design of the Cycons and my thought process of how and why I created this animation. So obviously this is like a logo review, these cycles morph, and then at the end we see the logo of, yes, I'm a designer and obviously the Cycons are related to design. The thought process was just that we wanted to show design related icons. That's all kind of morph and transform into the logo to imply that this is what yes, I'm a designer is all about. And there are a lot of little things that we took into account while we were working on this animation in terms of why transition the way we transition. And why use this cycle in this effect or in this effect. But I'm going to tell you all about that during the course. Because I just want to be able to show you how it works in after effect so you can know the difference and understand the logic behind everything. Before I create a composition and start this animation, I want to jump into Illustrator to show you a few things. First, this is the design of the icons. However, the way these cycles are prepared is not really the way I need them for animation. We have all the layers here. They're all on a separate layer. But the thing is that these cycons, they have a fill and they don't have a stroke. If we import these cycles into afterpacts, we have a bunch of little dots that we'll need to adjust every time. So that will be really frustrating. And the better option here is to just have a stroke and fill. So we are going to use these cycles as references, but we are going to recreate them in after efacts directly. So that we can manipulate them and we can change them and animate them. Let me jump directly into afterfacts. And I'm going to click control in to create a new composition. My composition will be 1920 to 1920, and I am going to make it 15 seconds. All right, this is my composition. Let me just quickly rename that. I'm just going to name that to To First, let's add a sold layer, the background control Y. Or you can also click Layer New Solid Layer. I'm clicking control Y, and this will be my background cover. I'm going to click Enter and rename that BG. Now this whole animation starts with a little white dot that transforms into this icon. We're going to start with the white dot. Let me go back here. I'm going to click here and title Action Safe, because I just want to have my grid, and I'm going to lock this there. Actually, before we start with the white dot, let's first create this icon. Because I want to have a reference like where this dot should stop and transform into the other icon. I am going to import the icons that I showed you here, the icons. And remember here you should click on Import S Composition, Retain Layer Sizes. This is important and this is our composition now. Okay, let me open it up. There are some empty layers here that I want to delete. And then I'm going to click on this icon so I can have the transparent grid. And I am going to just copy this icon. This is the first icon. Okay, let me go back here and I'm going to paste it. And I am going to rotate it because we are not going to use the rotation that we have in the original file. Let me just make sure it's a straight. Yeah. Okay. This is definitely not the center, so I feel like this is the center of. Let me zoom out a bit. If you're really picky, you can just open the proportional grid and just okay, in my case, this is the center. Now we have this icon being at the center. Now let me demonstrate what I meant when I showed you how it's very hard to manipulate these icons. Do you see that? I just created a shape just to show you we won't be using this, but look what we have here. Say, for example that you want to create the animation that we have. What you need to do would be to select all these dots. Dots. The shape is too complex and it's very hard to animate, especially here with these lines, you have to basically move a bunch of things that this is just too complex and not needed, that's why we need to recreate it. I am going to hold my left key and click on this icon here, and I'm going to draw shape. Let's remove the stroke. Let's remove the film. Let's add some stroke. I'm going to make it 26. Now let me open up stroke. Actually let me open up first the shape like rectangular part one and let's just the roundness. It's a bit too much. Now, I think this is good. Yes, let's move this a little bit here. It doesn't have to be one on one. As you can see here, you can still see some black lines from my reference, but this is okay for now. Then I'm going to click on the pen. Just make sure you don't have the shape selected, because we want to be creating a new shape and not a path inside this shape. Let's click on the Penu as you mentioned. And let's just draw a simple line like this. Now the only thing left is to just draw these lines. And that super simple, I'm just going to again click on the panchu and draw a simple line. Let me select these two dots. Move them up a bit like this. Let's open up the shape and stroke. Just make sure we have a round cup and round joint. Next, let's just change the anchor point by clicking Y and dragging the anchor point here. Now I am going to duplicate it. Once rotated, change the position and just adjust the rotation. And I'm going to follow the same process for the other three lines. Okay, great. So we have all these shapes now plus the reference. Let me just select all of them and isolate them just so I can see how it looks. Okay, I think it looks very good. I don't think I want to change anything at this point. We now have all these shapes and we recreated the icon. Then let's just delete the reference that we had, and we're left with the icon. Now let's just very quickly rename these layers by clicking Enter and then just typing the name enter. That will be the base. And I'm just going to do the same thing for the other layers. Rat. 4. Adding motion to the first icon: Now let's hold the left key again and click on this ellip two. And let's throw a little circle by holding shift this, great. Now let's change the anchor point by clicking Y and then just moving it right here. Now I am going to out of fuel cover here. I am going to remove the stroke. Great. Actually, where is my grid? Okay, here you go. First, let's animate the position of this dot. I'm going to click on Position. And I'm also going to click on Scale. We'll be adjusting the pat two, but for now, let's just animate the scale and the position first. Now I'm just going to select these two key frames and click nine to easy ease them. I'm going to go to about the sixth frame. And I'm going to move this scale keyframe here because this is when I want the little dot to be the fully scaled. At the start dot will be zero. Next, I am going to adjust the position. I want this little dot to start from here. Then at about, I'd say nine frames, I'm going to make it go up. And then let's say 18 frames for now. I wanted to go here. This is where the annumation of this on, of the base of this icon would start. This is why I want this do to end its annumation. Here, let me preview that to see how it works. Okay, amazing. I think this looks good. I'm just going to click on Position and open the graph and make some little adjustments on the graph editor. I won't be separating x from y. This is just the velocity graph and I just want to make sure this animation is small. I don't know why, but I feel like this whole thing is not really at the center or the little do is at the center. Let me see. Y. Okay, yeah, you see why. Like this whole position is just maybe one or two points off center. So I'm just going to click on position. If you click on position, you're basically selecting all the key frames so you can make adjustments to all of them rather than just changing one after the other. And I'm just going to click on the left arrow a few times and yes. Okay, now we have it at the center. This is perfect. Okay. This is how it looks amazing. Now, we would like to make some adjustments to the part of this circle. But if I open it up and I have ellipse, and here I have look at this, I can make adjustments to the size of it and the position of it, but I can't really change the shape of it. Like for example, if I want to make it like a different shape, maybe from circle, I want to make a square. I can't really do that with these options. This is because we have a simple circle. What we want to do would be to have a shape that actually that looks more like this shape. Where I can make adjustments to the shape and change the shape if I want to. I'm going to write, click on Ellipse path one, and I'm going to click on Convert to Baser Path. Now I have a Baser path and not like options for a circle shape. Great. Now let's add some key frames to the path. I want this circle to start normal, then. I want it to actually be normal here. Although let's play around with this. I'm just going to select on this start and just move it down a bit. Boom. And then here at the end I want it to be smashed. Select all these dots and adjust the shapes as if this is a little bot that gets smashed. This and this one as well. This is fine. All right, and this is when this animation will end. So I'm going to click on Control shift and D to cut and duplicate, and then delete it. Let me fit up to 100% so I can see the whole composition and see what we did. Okay, amazing. I think this looks good. I want to, just to adjust the pat. I want this pat to start from here and I'll offset it just a bit. Great, great. The only other thing that I want to adjust would be disposition. I think it's just a bit extreme. Just move it down a bit and let me see how this looks. All right, finally I'm again going to move the key frame and offset it a bit. Let me isolate it so you can see it. And it starts changing its shape here, and then it matches here. All right, let me just select and adjust these key frames. The linear right now. Let me play with the graph a bit. Actually this is a bit too much, again, maybe like this. Let's see. Much better. All right, now I want to just like all these motion effects and hide them for now. And also this line, I would like to hide it for now. I just want to be left with the base. All these animation, the motion effects, the line and the base will start here. Actually, the base animation will start here. The rest of them won't. But for now, let's just move everything. Great, now it's time to do the same thing that we did with the circle. Because now if I open up the part, I see size, position, and roundness. And I want to be able to adjust the shape and animated the way I want to right click convert to Baser part and add a key frame for the pay with F nine. Now I would like to go to about 1 second one frame. We might need to adjust the timing later. Click, select one click V, select all these dots and move them here. That will be the starting position. And this should occur at the same time when the white circle moves down and changes its shape, It should look like this. Okay, great. Now let's click part and open up the graph editor and make some adjustments. I want it to be a bit faster. Okay, let me preview the whole thing. Okay, looks good. Great. Now let's add the little line. I am going to play this animation of the base. You see it's around here. Yeah, this line overlaps with the line. This is when this line should start its movement. I'm going to open it up and add the keyframe for the F nine and click you. Then I just see that this is not a straight line. Let's first adjust that. I'm going to click on and adjust this dot until I see a straight line like this. Okay, awesome. This is when it should start. And then I think around six frames after 1 second, I would like to adjust this shape. I'll actually add another dot right here. And I'm going to move it down a bit like this. Then 1 second six frames approximately make it go up a bit. And then 1 second 12 frames copy and paste the first key frame. Let's see how that looks great now when the transition happens from the white ball to the base, as you can see in our original animation, we have these two motion elements that are very cool. Let's add them now. I'm going to go back here and I am going to select the penu and draw a simple line just like this. Then I am going to change the stroke to 31. I am going to open up this layer stroke, Change that to round joint, round cup, and open up taper settings. Now I want the start line to be 79. The length should be 71, the start should be 56, 83, like this. Okay, so now it looks more like a block. Okay, I'm just going to extend the shape a bit, okay? This is how it looks, and I think it looks awesome. Let's click Y and adjust the anchor point. Just make it start here. I'm going to click, and I'm going to animate the position. And the scale is, wow, I would like to make it start here. Actually, let me click R. And I'm going to animate the rotation as well. And make this rotation like this. The scale should be zero. Start then about, I'd say 25 frames. Make it go up. Change the position, and change the Arco bits. Now make this scale 100, change the rotation to zero, actually should be more like 20. Then let me just change the position and make it here directly extend the position key frame to about 1 second and the rotation should be same as the position. Okay, amazing. And now just make sure the scale key frame, this one is at the center and here the engines may cut zero and let me see how that looks. Okay, good. Okay, control shift in D to cut and duplicate. And then, and then I'm going to do that one more time. All right, let me see the timing now. Okay, this is a bit slow. I would like it to start maybe here. Okay, amazing. And actually, let me scale it up a bit more. I think it will look better. Now, control D to duplicate this, and I would like to just grab this dog. This is my last keyframe. I'll say here, change the arc a bit, move the first position here. Now the scale can be just a bit smaller than the previous one, just we can have some variety. I am going to change rotation to, at the start, it should be more like this. And I'm going to move it here. Let me extend this layer a bit. And let me remove this keyframe for now so I can see how it looks. This is good. And now click and adjust the shape a little bit. It looks more like this. All right, then scale here should be zero. Let me see how that looks. Okay, I think these are a bit too fast. So let me extend them to about 1 second. And same here. Okay, the last thing will be to just change the end position of this layer because I just think it's not proportionate with the other one. Doesn't look so good. All right, let's offset them a bit just to frames, right? Awesome. Okay, now we are ready with this one, and I'm very excited to continue the rest of the animation in theater lesson. I'm going to see you very soon. 5. Brainstorming ideas for morphing: Hello everyone and welcome to the new lesson. So last time we created the space and now it's time to continue with the animation with the other icon. And I'm very excited to share this process with you because this is when things start to get interesting. And I'm going to also walk you through my thought process of why I morphed the way I did and why I animated it that way. So let's get started. Okay, before I show you how to morph the cycle into another icon, let's finish this animation with these motion effects that we have, these little lines. We are going to add our favorite trim paths effect. So just add trim paths and then let's just animate the end. Actually, I want to start around here probably. That's around 1 second, 11 frames. Just make that zero. And then, let me see. I think, great, I think the timing is right now. We might need to just later, but for now it looks good. 1 second, 21 frames. Let's click, let's make this layer. Let's control shift indeed to duplicate it and delete it. I want to make it start here. Okay, great. Now I'm just going to trim pads, PD control C, and I am going to base this effect, make them all start here. Just put there and I'm going to click control shift and D to duplicate them. And actually I'm going to extend them because these areas, it will be part of the other animation, but you're going to see it in a second. Let's see how that looks. Okay, I think this looks good. Let's just offset them a bit. Just one frame. I want to preview the whole thing now. Great, great. Now let's morph the con. All right, I'm going to go back to our original plan now. And I'm going to zoom in here. This is the icon that we just admitted and now we want it to morph into the Pycon. When you're morphing icons or you're working on a motion graphics animation, it's very important to make sure your animation is smooth. You need to transform from one icon to another icon, but in a logical way, in a way that makes sense for this icon to transform that way. How do you do that? Well, there are millions of ways you can go about it to transform this icon to this icon, probably. But what I do and what works best for me is to just look at these icons and spot some things that are similar. For example, in our case, I am seeing that this base here has pretty much the same shape as this cross here, just this part of the cross. I'm thinking, how can I transform this to this? Well, probably I can just change the stroke a bit, make it smaller, and make this icon rotate a bit to transform to this line here. And then what else can I do? Like, what are the other things that we can animate here? Obviously, we can animate these squares like all D squares. But how to transform from this to this? Well, as you can see, you have a lot of squares here and we also have some motion facts here. In my mind. I go like how I can take advantage of that. In our case, in our animation, I'm just going to transform these lines into squares because I see a way to actually take advantage of all these elements. When you're creating a motion graphics animation, try to spot as many similarities as possible and transform each and every element into another element. Rather than, for example, just making these signs go away and just transform the base. It's better if everything transforms to something else. And also one other idea, just on top of my mind that I didn't actually animate. But maybe you can try it on your own if you want to. Would be to animate this base to be this line. And maybe this little line can be this line. That's not the way you can go about it. Like if I have to put it simply, just break the icon into simple shapes and then think about the other icon and it's simple shapes and then see what simple shape can overlap with another simple shape from one icon to another icon. So that was the whole process of how to transform this to this. Obviously, as I mentioned, there are millions of other ways you can do it. But I just thought that this would be fun to animate, that's why I did it that way. Let's go back to the original animation so we can see exactly what we did. And I'm going to show you then how to animate it. Here we go. Now we have just take a look at these motion elements. I'm just going to play it very slowly for you. You can see it. This element, for example, look at this line. This line goes here, it transforms into a circle. Then it goes down to transform into square. And it bounces same here and same here as well. I'm taking advantage of all these shapes that I have from the previous icon, and then I'm transforming all of them into squares. Obviously there are like other elements like these squares. For example, here at the bottom, I am going to need to just design them and animate them because I don't have enough lines to transform into squares, grades. Now let's look at the base before we animated the base that we have here, as I mentioned before, it rotates and it forms the line from the cross. And then we have another cross that overlaps and creates the cross. 6. Morphing the icon : Now. I think it will be best if we start by just taking this icon. Copy paste it here, bring it on top. We will be deleting it later, but for now, we're just going to use it as a reference. I want to make sure it's at the center. Great, so now we have this reference. So I'm just going to click and bring the past down to 80% Now actually let's make it 50% Okay, awesome. Let's just lock this layer for now. First, let's start by animating the base. All right, so this is the base we have now. Since we're going to be rotating this shape, I want this line to be parented to the base so it can rotate with it. And also, I would like to change the anchor point here at the center. Let me play it so I can see the timing. Great, so I think we need to have a few seconds to let this animation breath before we add the other one. And let's extend these layers. These are the motion effects for now. We're going to cut them later. All right, so the last motion effect ends at 1 second, 25 frames. I am going to have like a little bit of pulse here. 2 seconds, two frames, and this is when the animation of the base will start. I'm going to click R, R K frame for rotation, easy Es. Then at about 2 seconds, 20 frames, I am going to make it rotate. -270 Amazing. Now let me see the timing because I think that might be too fast. I might need to change the rotation to stop here. We'll have 1 second of rotation. Okay, great. I'm going to extend these again. Now let's add key frame for the part at the start, we should have the same part that we did. Then at the end I am going to move it here, like the whole thing. Then I'm going to select the cycles. And they will be here. Would be here. And then I'm going to select these two. They will be here. These two would be here. Okay, let me hide the reference for a second. Okay, so I have like the sharp edges here. In my case, they would be round edges and I think that would actually look better. So I'm just going to keep it as it is now. Okay, great. Now amazing. I would like to adjust the key from Saber. Let's first select the rotation and play around with the graph more closer to the end, like this. Okay. I feel like the rotation can be faster. So I'm going to adjust this and I'm going to adjust the part as well for the pat. I want to offset it a bit. I don't want it to start when the rotation starts. So I would say at around here. And then again, let's adjust the key frames. This at the center, Okay, now it's a bit too fast. Again, let's just change the timing a bit. Great. Now it's time to just remove this line like this one that we have here. I am going to add a key frame for the part. By this time I'm going to click or the penu, I'm going to select these two dots. Move them here, then I'm going to select this one and move it here. This is when I'm control shift in coutu. Delete this one. All right, let me hide the reference again so I can see the timing. Okay, let's preview the whole thing. Awesome. I'm going to he the reference again and I'm going to duplicate the base, and I'm going to tell you why in a second. The reason why I'm doing this is because I want to have the same shape. Remember that we had a cross in our reference? Yeah, this is a cross. I want this shape, like this line, to be the same as this line. And I can adjust the stroke a little bit like I can typically just create a line and adjust the stroke. But this stroke is very specific because it's not a stroke. We change the shape, it's really unique. And that's why I'm just going to duplicate the base. I am going to remove all the key frames, but make sure you have your marker at the end, Otherwise you just be stuck with like a weird shape. Just remove the key frames and parent the new base to the old base. Now, I would like to change the anchor point and move it here at the center. Then I will animate the rotation, actually, yes. Okay, I'm going to, let me see if I have to. Okay. And I think the rotation of this layer and also the position because it moves a bit like. Okay, that will be the end then. I want it to be to start from here. And this is when the layer will start. The rotation is okay at the start. And then maybe three frames after desalmation ends, I am going to make this nine. All right? And move it here. Let me see how that looks. Okay, This is too slow. So let's just the key friends again by opening the graph and making some adjustments from here. Boom. Okay, actually it rotates the other way around. And this bugs me a little bit, so I'm just going to grab it here and rotate it like this. Okay, let's see how that looks. All right. Okay, great, awesome. The animation on the basis ready. Let me hide the reference and play the whole thing. Great. Okay, amazing. Next time we are going to transform the science into squares. So stay tuned and I want to see you very soon. 7. Animation the shapes: Hello everyone and welcome to the new lesson. This is what we created last time. I'm just going to preview it just once so you can see it. And I think it looks good. It looks a bit rush now, but the next animation will be a bit slower so that it can compensate. All right, so if we go back to the original animation, we are going to transform the science into squares. This is how it looks. This is the animation that we'll be creating today. We'll be finishing the transformation of this icon. Now if we look closer, this is actually what we are going to be creating, isolated some of these layers. So you can see these are the lines that will then transform to squares like this. And we are going to start with just one line, and then we are going to progress and we're going to create all these squares. Let me just show you what we will be creating first. Okay, this is the isolated animation. This is the line, boom, transforms into a square. Okay, let's get into it. I'm going to open up my composition now. Let me find this line, okay? And before I do any of that, I want to rename my layers and organize them a bit better. So I'm going to just speed this up, but I am basically just going to rename everything amazing. Now all my layers are named. Actually, I would like to hide these two layers. So these are, the motion effects are already done. Let me hide them. And let me click on the second once again. So I don't see the hidden layers. Let me go back to see if there's anything else I can hide. Yes, maybe the ball. I don't need to see the ball now and I'm just going to keep everything else. All right, great. Now first unhide the reference. This is my reference. I am going to find my line. We are going to start with this line. I am going to open it up and add a key frame for the par click and let me see when this whole animation, okay, this is when the base starts moving. I would like this line to start its animation a couple of frames before the rotation. And this is easy, it just starts slower. In my case, I would just like to start the movement of this air over here. That's 2 seconds, two frames. Then I would like to about 2 seconds, 15 frames click. And I'm going to select these two doors. I'm going to move them here. What I want to do would be to make sure that this dot is exactly at the center of this, but not here, obviously, because this is when it will transform. I am going to grab a ruler. If you don't see your rulers, you can just click on here and then rulers. All right. I believe this is the center of the square. Yes, great. Now click on the layer, click again, and transform this into a little dot like this. Okay, Now let's see if the timing works. I'm going to isolate just this one. Okay, I think this is good. Now let's draw and create the shape of the squares. Hold the left key and click on rounded rectangular to create one. Yes, this doesn't look good, we will. Just bits. Okay, let me remove this ruler. Bugs me great. Remove the fill. Just make sure you have stroke on the. Now let's create the square. Okay, I think 24 is okay, based on the reference. Let's open up the rectangular part. Let's just the roundness. Okay, then change the anchor point to be at the center and rename that square. And this time I would like to change the color of this layer. I'm going to make it green because all the layers that will be related to the new icon will have a different color. So that's my composition is clean. All right, let me hide the reference. Okay, I think the square looks good. Okay, but this dot needs to be moved. I think here is fine. All right, amazing. Now we have the square, we have the dot. Let's make sure this layer ends here. And this is when we are going to transform it into a square. Click arch frame for the position in the scale. Click D. Actually this one needs to be moved a little bit. It shouldn't stop exactly. When the key frame is. But it's not even a frame, like just one point after that. So I can see it. All right, and this layer should start here. This is when this one should start. All right, now I'm going to move these to about 3 seconds to our frames. But we might need to adjust it. Tre. Let's scale it down and move it here. I want them to overlap. Okay, let me see how this looks. Okay, so now let's add a few key frames in between these. First, I want to go to about two second 25 frames. And copy and paste the last key frames, make it go down a bit. Then here in the middle I would say three second three frames, make it go up a bit. And then we'll have the original position here. Let's preview that. Okay, this is a bit, Now let's click on Position. I'm going to open up the graph and make some adjustments here. This is the speed graph, not the value graph. I will be just making changes to the speed graph. Okay? I think this looks good. Okay. Now, this is good. The timing is good if we don't want it to be too rushed. So I think this is fine. Amazing. Now let's unhide the reference again. Click on the cycle, so you don't see graph. All right. It will be easier for now to animate every single line with the same timing. And then we'll offset them. That way we can make sure that the timing is right and the timing is equal to each and every animation. I'm going to select the cycle here. I'm going to arch frame for the part. Click here, I would like to just move it up here. I guess I want it to be a bit higher than the previous one so we can have some variety. Okay, amazing. This is when this will transform to a square. I will go here and I'm going to duplicate this there. This is the square. And I'm going to click, and I'm going to go to the final key frame. So I can see the final position select all the position key frames and move them here. Because I want this animation to be the same. So we can have some consistency. Now the first key frame should be different, obviously it should be around here. Let me zoom in so I can make sure these two are aligned, okay. Let's see how this looks good, okay? Now, make this er, add here, and let's see the transformation, okay? Amazing. Okay, so now I'm going to repeat the same process and I'm going to transform this line into the square. I'm going to open a part, and it should start here. Okay, let me zoom in again. Ruler here. Then also, one other thing is that I want to make sure these two dots are aligned. I'm going to have another ruler here. Change the P again. Here is my dog. Awesome. Now double this square, Move it here, Click, select all the position key frames, and move them here. Okay, and now this should stop here. Okay, let's see how that looks. Okay, amazing. Great, we have the first three squares animated. 8. Adding motion to squares: Now let's animate these two again. Same here. I'm just going to select this line. I already have a path key frame, so yeah, you can just click here to add one. Go here, and this one should be here. And this one here, just like these two dots. Let me remove this ruler because it bugs me. Again, is just a bit annoying. Sometimes I will zoom. Create a little bow like this. Awesome. Now I'm going to duplicate this one, actually. Great Click. I'm going to all the position key frames. The final position should be here. Now we'll need to just these key frames now because the position is different and the action, the movement is smaller. Actually the first key frame should be here. The next one, I think this one should go down a bit more. Up a bit more. And this is the final position. Let me see how this looks. Just this one should end here. Here. All right. Okay, amazing. Now repeat the same process for the other line. Okay, this is how I'm going to hide the reference and I'm going to show you how our animation looks. Now this is the preview. Okay, great. Now it's time to add the last row of squares. So let's do that. That would be really easy. Let me hide the reference. I'm just going to select these squares, duplicate them. Bring them up here, and select their positions. Now, just move them down here. Just this one. I would like to change the key frame. Let me see where this one is around here. That will be the middle one. When it goes up, it is just a bit too much now. Great. Now we have all the squares animated, which is amazing. Let's now offset these key frames. Let me hide the reference for now. First, I'm going to start with this line. This line that's connected to this square. I think they're good. Now, I want this one to start a couple of frames after. This one may be here. This one maybe here. This one here, Yes. Okay. I'm going to start with this. Okay? This line is. This square square should start here. This one is the first one. This one is good. Let me see which one is it. Okay? The middle one square here. This one here. This square should start here. This one should end here. This square should start here. Let's just offset These other three squares are not connected to any line. Let me see how that looks. Okay, great, let's preview the whole thing. All right, let's just to finish this one, I want to do a little adjustment that's going to make a huge difference in my opinion, like all the squares, I'm going to click on this icon here, this versus motion blur, which I think is pretty cool. So you see this little blur here. Also, I'm going to apply this to the motion effects and the line and the base. If I preview the whole thing, you'll see this very cool motion blur that I really like. Do you see it here? All right, let's now hide the reference. And we're going to do something very easy. We are going to create this line, this square that's actually just a stroke. Need draw a simple like this. I'll hide the reference just to make sure. Great, now I'm going to create a mask because I don't want to see the line overlapping with my squares. Just create a little shape here. Remove the stroke, but add a fil. Great. Now make sure you have this, this new shape that you have clicked. Because we want to be creating multiple shapes within the same layer. Okay. Like this, create different shapes that's filling in the gaps. Great. If you don't see this option, just click Total Switches modes and make sure this is Alpha inverted mate, and boom, we have it amazing. Let's rename that Mask Square stroke. This is square stroke. These two should be green because they're part of the square icon. Right? I'm going to add our favorite trim pats effect again, Let's animate the end. And I want to make it here, I'll say 3 seconds, 20 frames. And at around 2 seconds, 20 frames, make it start at zero. I'm actually going to open up the stroke and make sure we have a round cup and a round joint. Okay, let me see how this looks. Great. This is a bit slow, so I want this to finish. Okay, great. One tiny thing that I noticed is that we might need to adjust the part of the mask a little bit. Okay? Because as you can see here, I can see it Overlapping right here. Now I will need just this frame by frame where I need you, for example, for this one. And I think this one, that way I don't see it overlapping this square is square number seven. And I'm going to just make sure my marker is here. I'm going to open up square four and open up transform and key frame for the position O square seven here. The position here, seven here, it should be here. And again, layer seven, that should be the same as the original. Let's easy ease them and let's see. Okay, as I said, probably we'll need to go frame by frame. This position here can be here. I still see a little overlap here, Boom. Okay, let's see what else overlaps. I think this one, that's layer three and say eight. So I'm just going to repeat the same process and adjust the position key frames of each and every frame that overlaps with my line. Okay, I'm ready. This is the preview now. 9. Animating the Motion Effects: Last line would be to just add the motion effect. There is one line here. This is the original animation. There is one line here that add up to the coup morphing animation that we have. Let's add these in. I would say we can go from here. Okay, let's click on the penchu and let's just draw a line like this. Make the stroke 26 and remove the fill. Let's just open up this layer and make the lineup round cup round joint. All right, now we'll just add the trim pats effect again. I'm going to add them here. And animate the end. Make it start here. This is a bit too slow. Maybe here, I'll animate the starts as well here. Let's see, I'm going to cut this layer. Okay, let me see how that looks. Great, I'm going to just duplicate this one and rotate it a bit. And change the position slightly. And offset it, actually, I'm going to flip it and change the rotation again. Let me see how that looks. Actually, I don't think we need this one, honestly. I'm going to delete it. It just gets too busy and I'm going to make you. So right here. All right, amazing. Great, this is the animation we created today. State, because next time we're continuing this morphing animation. I'm going to see you very soon. 10. Brainstorming ideas for morphing the next icon: Hello everyone, and welcome to the new lesson. Last time, we were able to transform this icon to this. And this is the result. Now this looks good. Now it's time to animate the other icon and transform. Let me go back to my icons and transform this icon to this icon. Okay, let's do the same exercise that we did last time. What do these two icons have in common? Well, the way I see it, they have this square in common is the square. And also they have this line in common as well. This got me thinking, we have this line that's similar to this line. We have these two elements, like we have squares here, but these can easily transform into circles. What else can we transform here? Well, I see two elements. One is this line, like the curve line here, and one is this. How can I transform what I have here in the middle to this curved line? Well, how about I animate this line? Well, I have two lines here. I have a cross. But what I can do maybe, is to just make this cross a line rather than across. And then animate the line and make it curved. This is what I did. And then this element, it's not a complex element, but I couldn't think of anything I can do to transform from this to this without looking a bit weird. This is why this element will just appear from the bottom of the screen, and I think this looks just fine. Let me go back to your original animation and show you what we'll be creating today. Okay, we rotate the whole shape, then we rotate this shape as well. You see, boom. All right, now we transform all these shapes into circles so that we can have this shape would disappear in a second. This line transform pops the two circles. This element appears to make a curved line like this. 11. Working with the Value Graph and adding rotation: Okay, this is super cool and I'm excited. Let's get started. This is where we stopped last time. We already have the second. I want to preview the whole thing so I can show you the timing. I think the timing works well the way it is right now. But I'd like to add a little pause here. I just want this animation to read for a second. It's a bit too fast, I think, right here. But maybe when we add this house here, we will compensate for this one. At the end of this whole animation, we might need to make some adjustments to the timing. Let's animate this. First, I am going to add, what is this? Why is it not named? Let's name that. That's motion element. All right, now we want to rotate everything. Basically everything besides the cross. I will need to create a new object so I can move these stirs the new no object or control out shift and why. And I'm going to name this square now. Amazing. Now let me select every little square, all these green squares. This was my original reference. I'm going to delete it. I don't need it now. Okay, a little squares plus the mask and the square stroke, parentem to the square now. Now let's see when this rotation is going to happen. That I think around here, I think 1015 frames would be enough for the puzzle. Now our key frame for rotation, easy, easy. I think I'm going to go to about 5 seconds, five frames, and make it rotate at 180. Okay, great. Let me see how this looks. Might be a bit slow, but we'll adjust the key frames now and at the same time we'll be moving the line as well. Don't forget that Gatowjust graph. Again, this one is going to be a bit extreme. I want it to be extreme because I want to have a cool motion effect. You see the motion third now. Do you see it? Yeah, very cool. Is that extreme enough? Let's see, maybe a bit more. Just a bit more. I want it to be very, so fast. And then so when you're working on animations that have a lot of elements like this one, it's better to preview the whole thing when you're continuing the animation. We do this now just so we can see if the timing works and if the pulse is enough, or if there's enough time for this animation to breathe before we move forward to the next animation. Now looking at it now, I think pose is a bit too big. Now let me preview it for a few times. This is real time. Now I think this is good. Let's start this rotation at about 4 seconds, three frames. Let's preview the whole thing again. Okay, now I think it's good. Okay, now it's good. Now let's find our line. This is this one we're going to add to key frames for the position rotation. And I think at around 4 seconds, 15 frames just mean that zero and make it end here. Control shifting to cut, and duplicate and the lead. Okay, I'm going to open up the rotation graph and I want to make this one a bit. Ext, okay? I want to make it as if this sign makes the whole composition move. I think this is good. Amazing. Okay, now let me see when this now stops. It's moving okay, right here. Let's again give it like two or three frames to bred. And we're going to animate this line. We're left with this line over there. But before we do that, we'll need to transform each and every circle into a square. And this is going to be very cool. I'm going to show you in a second. Let's the left key again, and I'm going to create circle. I need it to be straight circle. Okay, thank this. Great. Change the stroke to white. And I'm going to zoom in and change the anchor point to be at the center. Now let me hide and unhide it so I can make sure it is aligned. I'm going to lock this are so I can find my square. This is square number eight. I'm going to move it here. I just want to isolate this and this. Let me just hide the square so I can make sure the circle is at the center of the line. It's not really, I'll need to just Okay, I think this is good. I'm just going to move it down a bit. We might need to add a position keyframe later. I think it's good. Okay, here's what we're going to do. We're going to just use this circle as reference because we want to take the path. Of the circle and transform our square into a circle. So I'm going to open up the ellipse and same that we did in the previous tutorial. Right click and convert to Baser Pat. The reason why we do that is because we want to copy this path. Now I am going to go here, this is square eight. I am going to open it up. And same here. I want to create the baser part key frames. This is when this would start. Actually, let me zoom in in my composition bit. Okay, here. And I think it should end right here. And then I'm going to copy the part of the circle, the new circle we created. Go here, select the part, Paste. Now, we might just need to adjust the position a bit. Okay, let's see how that works. Let me just hide it. Okay, this is now, do you see what's happening? It kind of transforms like the rounded angles that we had transformed into the circle. So I think it looks good, but I would like to just the graph of it again, so it's faster and smoother. Okay, I want to preview that real time again. Okay, too slow in my opinion. Let's preview form. I would say here I want it to be more extreme, faster in the middle. Okay, amazing. Perfect. Yes, exactly what I wanted. Great, now we're going to repeat the same process. The timing will be the same for all these elements. We won't be offsetting them. Let's move forward to square number seven. Open it up, right click. Convert to Baser part F for the part here. And move it here. Not move it. And then move your marker here. Copy and paste this part. Great, we need to adjust the graph here, but we are going to do that later when we're just going to do it once for everything. I'm going to repeat this same process for a square number six. Right click, convert to baser part at a keyframe. Easy marker, go here, copy this past here. Okay, I'm going to speed it up now because I'm going to basically repeat the same process for every little square. Great. We already, we just transformed every little squared into a circle. Now hold shift and select all the path key frames, every square besides the first one, because the first one already has adjusted graph. I'm going to make sure I select D's moved, move them here a bit, make it extreme. Let's see how that works. Great, now they all transform the same time, and it's so we win. Let's see the preview. Great, I think the timing is. 12. Adding Motion to the circles: Now let's animate this line. I'm going to select the line, Go below here at a key frame for the path. Actually, I want this line to start animating here. Right before the animation of the transformation animation finishes, I'm going to adjust the path and make it here, it's in the middle. And let's see how that works. Okay? This needs to be faster because that's the idea as if the line pop these elements like, okay. So it needs to be slower at the start and then faster at the end, let's see, okay? Okay, and this is when these two circles will pop. So I'm going to find them. This is what? Square circle four. And now I'm going to open up stroke and it starts like right here, right? And then here. It should already be gone. Make the stroke zero at this point. I'm going to make it start here. Okay? Yes, this sounds good. Amazing. Now let's do the same thing, and actually I'm just going to copy these two stroke key frames. And let me find out, this is for five R key frame. For the stroke were and paste. Okay, great. Now let's repeat the same process for these three circles here, but I'm going to offset them a bit. I think right here, a couple of frames after this one. Same here. Open up, stroke, stroke past key frames. Move them a bit Here a stroke key frame for stroke. And move it here. Let's see. Okay, I think that this looks good. Now, in the meantime, I want this line to animate as well. This is the square stroke. Let me open it up. First, I would like to adjust the offset. Because look at this. We need to animate the end. So we can be left with this line on this one here. And this is a straight line, and we won't be animating it. I just want the square to trim and stop here. I have just one line here. However, if I animate the start, I would be like, say for example, 25% or actually that'll be like 24% I'll be left with this line. And I want this line. This line. So that's why we need to change the offset. The offset should be here 100% And I'm just going to mess around with this animation. We already animated this, and that's why I'm just going to heap it the way it was here. And then there will be just another key frame on the next frame where the offset would be 100. Okay. Now, let's see how this looks, okay? Okay, Let me just see if this timing is right. I think, yeah, maybe it should start sooner. Let's see. Okay, I'll adjust the timing and I notice something else I'm going to fix in a second. First of all, the animation is good. Up until here. I want the sign to be faster. That's my first timing change these two key frames, I'm going to move them. This needs to be faster and maybe start here because otherwise everything is happening at the same time and you can't really see what's going on. Let's like the park key frames. Just the graph a bit. I know I said I want it. I still want it extreme, but not that I'm going to grab this door here and move it. Okay? And I will need to just the timing for the little circles that was squared five squared, four to here. Let's see. Okay, Maybe a bit sooner. Okay? Now, all these other squares need to be delay a bit, because as I said, everything is happening at the same time and it's a bit confusing. And these two here, let's see. Okay, now we have a bit more structure. Okay? Maybe the last thing that I noticed is that I didn't have to change the square. Because remember that this icon has a big square here. So if I go back, I just want to find this square and remove this key frame. Great. Next time we're going to finish the annuation of this icon, and I'm very excited to see you in the next lesson. 13. Animating the Pen Tool Icon: Hey guys and welcome to the new lesson. This is the preview of the animation we have so far well done. And today we will finish the animation of this icon. This icon over here. All right, the first thing that I'm going to do would be to replace this white line. The reason why I want to do this is because as you know, this line is part of a shape that actually, that was the original shape that we had. Yeah, this one. As you can see in our original animation, we want this line to curve, go up because of this tool. It will be very hard if we tried to do that with this line. The reason being is that as you can see, there are a bunch of dots here, for example, if I create another dot here and start moving it, there will be another one here. And there are like three more dots that I don't need here. I can remove these shapes, but I want to keep my composition really clean and tidy. And that's why I want to just create another shape that overlaps with this one. I can start animating it and it will be way, way easier to do. So let's click on the pen to and draw a simple line that overlaps with the existing line that we have. I'm going to let these two dots move them down here. Okay? And actually I'm going to move the line, make this new element that I just created above my base. And I'm going to isolate this new element with the base. And I'm going to rename that. That will be line. And I'm going to change the cover to brown because that's part of the new icon and I want all the layers related to this icon to be brown. All right, let me isolate and un isolated. I will need to change the stroke again. Round, cup, round joint. I feel like the stroke can be 26.5 Yes, and I need to adjust like this one needs to be here. This one here. I don't want to be. I want anyone to see that I'm changing shapes. Barely see it now. All right, great. Let me see the timing. I'm going to isolate these, let me hide this one for now. Okay, actually I want this layer to start here exactly when the other line ends. It's animation control shift need to cut, duplicate, and bleed. And I need to hide it obviously. Let's do okay. Also my circles hide it a bit. And just make sure you click on the icon so you have the motion blur. All right, let's now bring this line above everything. Great. Before we move forward, I see that I have some layers that are unnamed. That was my reference for the circle, so I'm going to delete it. Let me see. I want my composition to be super crystal clear. All right, great. Perfect. Now let's add the outer element of this one in our original animation. As you can see, we are not really changing the shape of the icon. We have keyframes for the position and the scale, but we're not changing the shape. And because we're not changing shape, we don't need to draw this element. We can just take it because we already have these icons designed in Adminstrator. I am going to just create a mask because I want to have this element only. All right, great. And just make sure you click on the cycle so you don't have any problems with the scale. Copy this and I'm going to go back here and I will start animating the cycle I wanted to start animating from here. Click on the left bracket, so I can drag this here. Here. Click on P. So I can animate the position and the scale. All right. First let me see where this element is. I'm going to scale it up. I'm going to move it here. I want to make sure it's at the center, great. And move it down a bit. Okay, now let's add Phil Cower, because I want it to be white. Great. The animation goes like this. This element comes from the bottom of the screen. Stops here, pauses for like a millisecond, goes down and then goes up. So click. So you can see your key frames. And move these, I would say, to about 7 seconds, five frames. And at about 6 seconds, 13 frames, move it down here, and apply the motion blur. Okay, now let's open up the graph for the position here. We might need to separate x from y, but for now I'm just going to work with the speed graph in the value graph, okay? Okay. I think this looks good. Just a bit more extreme. Okay. Amazing. No, I think this looks good. All right. I want this layer to actually start from here. I don't want to see the whole movement from here to here, so okay, good. I think the timing is good. Now, let's add a little bit of a pulse like from 7 seconds, five frames to I'd say 7 seconds, 14 frames. Let's see. All right, I'm going to add a key frame for the position. And then at about 8 seconds, I'm just going to make it go down like this. Let me see how this looks. Okay, I want this to be. So this is on purpose. Now let's open up the line pat and add a keyframe for the path here. I will need to add another dot here so I can have the curve. And the dot should be at the center here. Just make sure you hold. Shift, click and hold, so we can have a curve like this, okay? Now, at this time, grab this dot and move it here. Just the dots, all right? I don't know why. I have a feeling that this is not the center. It bugs me. All right? Maybe like this. Let's see, I don't want to preview it yet, okay? Okay, now the line is too slow. Although these two key frames have the same start and end point, let's open up the key frames here. Okay, And now let's do the same thing here. All right, let's see. Okay, I think this looks good. Now I just want to duplicate my original icon. Because I want to see where this arc is supposed to be, and I want to make sure it is aligned. So I'm just going to copy and paste it here. Click on the icon, so you can remove the graph. Let me just scale it up so I can see. Okay, it should be something like this, I think. Okay, it's a bit different, but I mean, this doesn't really matter. Now, this too is making the line go down. And I want to make it as a bounce, like it'll be down and up. So I think the last key frame here should be faster. So I'll go to about 8 seconds, ten frames. And it'll be easier if I adjust the line first. Okay, this one goes here, this dot goes here, and this one goes here. And we need to add the mask. Yeah, we'll do that later. Let me hide the reference for now. Make sure it's a nice arc. Hide the reference. I'm just going to add a little ruler here. Yeah, this is now I think. Yes. Okay, it's good. Where is my two? Okay, so the tool now needs to go up here. All right. We need to adjust the scale. I just noticed that this two now is too big here. We should have the normal scale. So I'm just going to add a key frame then here, when goes down. I just wanted to scale down a bit like this. Let me see the original icon. Yeah. Okay. Now I think this is good. Now, copy page the first key frame. Okay, let me see how this looks. Okay, The last thing that I want to do here for the second would be to, again, just the graph. Click on this dot here and just make it a bit more extreme. Great. And same for the line. I want this to be a bit more extreme than it is right now. Okay, so fast and then slow again. Okay, let me preview. So I can see if the timing is right when you're previewing. Just make sure you have the 100% resolution. Okay, this is a bit too slow. I want to adjust that. I think this pause is good now. I think this can be faster, and this can be even faster. And let's preview it again. The whole thing. Okay, now I want to just add a mask here. I'm going to create a square. Remove the stroke at fell core and move it above the new line and alpha inverted. And make it start here by clicking on the left bracket. And I'm going to name that mask, line, line, line, and this element will be brown. All right, now let's preview it one more time. Actually, I want to add one more key frame for this cycle. I want to go down a bit. As I said, I want a little bow. Yes, maybe a bit. So let's see. Great. Do you see how this secondary movement adds a lot in this animation? I'm going to show you in a second this very cool bounce. Let me show you. This is with the bound, this is without the bows. It just looks to static. It's like as if it sticks to the line. And when we have a bounce, it just, it looks way more organic. Very cool. All right, great, amazing. We are ready with the transformation of this icon. Next time we are continuing with the other transformation where we are going to have this icon and then we are going to have the logo reveal. Thank you so much for time. I hope you enjoy the tutorial and I'm going to see you very soon. 14. Designing the Eyedropper Icon: Hello guys and welcome to the new lesson. I am going to preview the whole animation. This is where we got, and this is where we stopped last time. Okay, great, so this is what we have today. We are going to continue this animation and we are going to transform the Pycon into this icon. Let me again walk you through my thought process while animating this. I was again thinking about how I can go from this to this. I wanted to spot like again, some similarities. But as you can see, these two Chas are pretty different from one another. They are not a lot of things that they have in common. In this case, I just decided to animate this part over here. This little square that we have is going to transform into this shape. And then the other part of the shape will be formed. Let me go back to the original composition and let's start this lesson. I am going to start by creating this shape, same as we did last time with the other icons. I'm just going to copy this one. And I'm going to paste it. Here. Let me see what, okay, yeah, that was the previous reference. I'm going to delete it, and this is the new one. And I also noticed that this layer is not named, so I'm just going to name that pen. All right, great. Now everything is clean. I will isolate this layer and find it. Let me scale it up a little bit and I'm just going to add a feel color. I want to make it white. Now we are going to be creating a shape. I just want to rotate the icon a bit. I want to make sure this is straight line because otherwise it will look weird. I think this is good. Now let me create a mask. I don't need this drop for now. I'll be creating this icon on a leak. So I won't be creating this shape because as I mentioned before, we are going to transform the little square into that part of the icon. Okay, so now let's start by creating an ellipse like this, and let's remove the fill effect. Let's add a stroke. Let me see what is the stroke of the other layer. So that's 24. Okay, like this, amazing. I will now draw a rectangular shape and I'm going to draw two rectangulars here, but I'm going to add the core. Do you see what I did here? I didn't create a new layer, but I added the shape into the outer layer. I'm going to delete it now. And just make sure when you're creating a shape, just make sure you click somewhere else and you don't have the elements selected. Okay. Now, because I want to mask it, and that's why I need it to be on a separate layer. Let me hide this for now for just a second. This time I want to create two different shapes. This time, make sure that you have your shape selected before you draw the new shape. Yeah, here it is. Now let's just alpha D like this. Okay, Let me hide the reference. I think I'm just going to move this one here. The mask will be here. Okay, Now let's throw the other part of the shape and I'll be on a different layer. I'm essentially drawing the shape that should look like our icon. Okay, and one more here. Let's remove the fill. Let's add a stroke, 24. Wow, this is too much. Let's make it 15. If I hide the reference, I just want to see how this looks. Let's make that 15. This shape is not looking good. I will need to adjust there. I'm going to do that by licking king here. Adjusting the shapes. Okay. I am going to change the stroke to 12. Let me unhide everything just to see if the reason why the stroke looks bolder is because we have to scale the icon. So I'm just going to a parent all the stairs to this one and I'm going to scale it up like this. Let me adjust this shape again, because I think this part needs to be fixed. Just feel free to play around with the shape until you're happy with the way it looks. Now if I isolate, let's see, Maybe this square, I just want to see if the stroke is okay. I think I'm just going to go here and just isolate now. I think it's fine. We might need to adjust the stroke later, but I think it's good now. Okay, this is the shape. I don't really like the circle, to be honest. Let's just create another one. It just doesn't look sharp. Great. And I'm just going to alpha, port it again and delete this one and change the stroke. Yes, 24 this time. All right. 15. Transforming the Pen tool Icon to the Eyedropper Icon: So now that we have this shape and this new icon that we have, I am going to delete my reference. And let's start by hiding these layers for now. Because I want to create the other animation first before we transform this icon to the other icon. Let's first see how the timing would work. Okay, great. I think that the round 9 seconds would be a good starting point for this animation. What we're going to do would be to start with this curve over here. We are going to animate it and I'm going to open it up. I am going to add our favorite trim paths effect. Here we go, I am going to a key frame for the start. For the end two, I'm going to go to about 9 seconds, 20 frames, and I'm going to make this 50% and this one 50% two. Great. Now let's see how that looks. Okay, amazing. I think the timing works well. Now I'm going to select this circle. This circle. I'm going to click. I go to a key frame for the position I am going to make. The position starts at about 9 seconds, five frames. And it will end at about 9 seconds, 26 frames. And I want to move them and make them stop here. This is where we are going to make the transition. When you move the first circle, you can just copy and paste the key frame for the other circle. I noticed something here like, do you see this part over here? We had a trim paths effect from the previous animation. And the end is 24 and there was a mask here that covered this part. But now that we don't have the circle, we see it. Let me just change this keyframe to 23. I think if I go here. Yeah, if I go here, I don't see this part anymore. Great. Now let's see how the timing works. You're going to make it a fire 100 so I can see the whole thing. Great. Perfect, I think this is good. Now let's go to the last keyframe, and let's select these two circles and control shift and D. And delete them because we don't want to see the S from now on, They'll just disappear. Let's animate this line over there. I'm going to add a key frame for D ends again. I'm going to go here and see. I'm going to make that 8% And I'm going to also animate the start easier. I'm going to make this 8% to great. I think this needs to be faster because you see that here, this line overlaps with the circles. Yeah, I think this is fine. Let's see. Okay, amazing. Great, great. At the same time, I want the penile to go down and disappear. So I'm going to add a keyframe for the position and then go to about 9 seconds to frames, make it go down and control shift to cut. And Kate like this, and let's see how that looks. Okay, I'm going to cut it from here. Great, I think this is great. I want to just select all these key frames and make them just a little bit faster. Because now we will be rotating this element and I think that dissemination can be faster. Now I will add new object control, shift out and to create a new object. And I'm going to click Enter, and I'm going to rename that rotation. No great, I want to parent all these elements, but as you can see, these elements are already parented to layer eight. This is the other node that we had. The best way to do this in this case would be just to parent the old to the new. Now, the pu, the pinch is not parented to any. Actually, we don't need to parent any. It just goes down. So I just want to see and make sure that all these airs are parent and yes, as you can see, this mask and this line are not parented to the nose. So we need to parent them now also. Okay, So this circle, yes, it's parented already. This line, parented already. And this circle is parent already. Okay. Amazing now. I'm going to open up the rotation of the rotation, no key frame here. And I'll go to about 10 seconds. And I'm just going to make it rotate once, like just make a full circle. So let's see how that looks. Okay, that's good. But we did a little mistake. And the mistake was that we didn't change the anchor point or the position of the null. I'm, I'm just going to change the anchor point of this. No now and that will be the anchor point of this now. This is from where it will actually rotate. Okay, great. Okay, great. Now I want to just open up the rotation keyframes and I will make some adjustments to the speed graph. And I want to just make it sharper. Start slower then faster and then slower again. Yeah, okay. I think this movement is perfect. Now, one thing that we have left would be to transform this on the square into another shape so we can form the new icon. I am now going to unhightse layers. And also, I just realized that I deleted my reference. So let me just quickly go back and find my reference just so I can see how long this line should be. Okay, here is my reference. I am going to just change the autocity to 50% I think for now let me find the square. Okay, so here is the square. I'm going to click and I am going to move these dots here. And these dots here also. I would like to change the position of these elements here because they are lower and I want them to be somewhere around here. I'm going to hide my reference for now because it makes it hard for me to see the wheel. Okay, first let's change the position of these elements. Okay, I think we need to move everything to the left a bit so it's aligned. Okay, great, Yeah, I think this looks good. Now. First let me just rename these things that will be circle that mask. How can we call that element final icon? And I would like to again, change the color of these elements because they will be part of the new icon, so they can be yellow for example. Great, now let's point all these things to the. I would like to also make sure this key frame ends here. When rotation ends, I will add the trim paths effect to the circle and to this element as well, a trim pads. And I would like to animate the end. Actually, I'm going to make it ends at about 10 seconds, eight frames. And it will start at about 9 seconds, 15 frames. Make that zero. Then copy this and paste it here. And let's see how this looks. Okay, first of all, that should be zero here, not two. Okay, then let's open up the stroke and make sure we have a round cup and round joint of both these elements. And I see that we will need to adjust the offset as well. Yeah, the offset of the circle because it starts from, do you see how it starts from here? I would like to just open up the trim pads and make it start here. Great. Amazing. Okay. Now let's just open up the graph for the trim paths and make it smoother and same here. They don't have to be the same because it'll be good to have some diversity. This is how it looks. Now, let me just make that 100 so we can see the whole thing. Great, great, well I think the animation looks good. Next time, we're going to continue with the last piece of animation where we are going to animate this logo. And this is going to be very fun, and we are going to finish this morphing animation. Stay tuned then. I'm going to see you very soon. 16. Creating the Logo Reveal: Hello guys and welcome to the new lesson. Very excited for this lesson. So let's get started. Today we'll be actually animating. A big part of this lesson would be to animate the logo, this circle animation, with this liquid transition that we have. So we're actually going to start by animating the logo first before we assemble this animation into the other animation and finalize it. Because in our original animation, if we go back, what we have here is, yeah, we have this transformation. Yeah, and then we have the drop that forms the logo. This is a precomposition. Actually, let's just first create the precomposition so we can see where the logo would be and how we should animate this element. Where should the position of this element be? Before we have the drop, I am first going to import the, Yes, I am a designer logo. Right click here, Import file. Here is my file. Now I'm going to click Import as Composition, Retain layer Sizes, and Import. Now let me see what we have here. Okay, so what we have here is the circle with the logo. And we will first just make sure we click on the second so we can have the continuous sterization. We can make sure the logo is high quality. Then I'm going to click control K and change this composition to, I would say, 180 to 180. Great. Now let's just scale the logo a bit. We can scale it down later, but I want to be able to see the logo better. So that's why I just want to scale it up. Okay, great. We are going to start by creating a very simple rectangular shape like this. It doesn't matter, we're going to mask it a few seconds. Just make sure it covers the whole circle. Remove the stroke and at Phil. Great. Now I'm going to move this shape below the logo and I'm going to mask it. I'm going to Alpha. Next I'm going to click on and I'm going to add key frame for the position. I'm going to easy ease it. I'll go to about the 1 second mark and move this keyframe there. While at the start I want it to be here, let me see how this looks. Okay, this is a bit too fast. I'm going to move this keyframe here. I would say about 1 second 28 frames. I don't know why I deleted the first one. I'm just going to add it here. Okay, now I think this looks good. We might need to adjust it, but we'll do that later. Now in your fat panel search for the wave effect, let's change the settings. This one should be -15 this 1,200.15 This one, Yeah, we can keep it at 90 degrees and everything else can just stay the way it is right now. Now let's change the cover. I am going to use light gray for this one. Amazing. Let me actually preview that. Good. Okay, that looks amazing. Now let's select these two elements. Actually, let me rename that. I'm going to name that way. Great, let me select these two elements starting with the mask, the logo, and control control V. Next I am going to just open up this layer, wave two in my case, and change the setting. I want this to be 17. This can stay at 215 and everything else can actually stay the way it is right now. And I'm just going to change the cover. The cover will be darker. Let's preview that. Amazing. Now let's copy and paste these two. And I'm going to offset them a little bit. I'm just going to make them start at about, I'd say the tenth frame. Yeah. Right now. Let's again change the cover. This time I am going to make it a darker red cover because now we will be revealing the logo. The last should be the original cover of the logo. If I unhide that, I'll just take this co and I am going to change the fill of this last layer to be discover next. Actually, I just want to offset the layers a little bit. They're just too linear for now. Let me just select all of them. Yeah, let's see how that looks. Wow, great. Okay, let's open up the editor and make some adjustments to the speed graph by selecting all the dots and adjusting the great. Now let's make them a little bit different, that way it's not so static. And yeah, I want some of them to be faster. Some waves can be slower. I think maybe this one can be a bit different. This one can be faster. Like this, and I think the last one can stay the way it is right now. Okay, I just want to offset it a bit more. This last one, the only thing that I'm noticing is that this first position needs to be down a bit. Just because I can see it moving before the animation, and I don't want this to happen. Let me see. Okay, the only thing is that this shape covers this shape. I'm going to open up the position again and I'm going to change the graph. Yeah, we can have them annuate one after the other. After the other. Okay, great. Now, when we have the final wave, wave four, we want you to actually reveal the title in the whole logo. Now, I will just duplicate these two layers. Yes, but this time I'm going to change what's mask to this logo should be Alpha mated to the wave. Let me see how this looks now. Okay, this last wave reveals the title. Amazing. Great. Now in our original animation, we have the slops and the school motions that we'll be adding. Now let's do that. We'll start by drawing a very simple line, this. And we're going to add a little stroke. I'm just going to make that in 23. For now, let's open it up stroke, make sure we have a round cup, round joint. And now we are going to make some changes to the taper. The start length should be 79, the end length should be 71% The start should be 56% the N E should be 83% I think this looks good. Now let's just change the anchor point. This actually now it looks a lot like a drop. But I would like to change the rotation. Actually I want it to be like this. Yeah. Okay, amazing. Now let's add key frames for the rotation, position and scale, and easy ease them. Now let's see the timing. Well, I would say at around this time, I want this block to start here. And I want the scale to be zero. Then I would say at about 21 frames, I want it to be 100. Now I want to go here with a little arc. Great. I'm going to rotate it, then at 1 second, I'm just going to make it zero. Actually, just change this position key frame to be here. And rotation, we have this thing scaling up. Scaling down, okay. Great. I just think we need to change the rotation here a bit. Great, Amazing. Okay, now let's change the color. Actually, let me change the position of bit. I would say that we can make the stroked gray than the darker layer that we have. If they overlap, we can still see this motion effect. Okay? Amazing. Now I'm going to make sure this layer starts here. And here I am going to change the co, to, I'd say purple. And I'm going to rename that motion effect. Great. Okay, so now let me duplicate it and I'll change the position. So this is the end position and the start position. And I would like to also change the scale. I want this one to be bigger now. Rotation, let me see. Okay, so yeah, rotation should be like this. And I'm just going to replace this key frame. Yeah, here, it should be like this. I'm going to offset it a bit. And let me see how this looks. Okay, great. Amazing. Now let's add two more. I'm going to start with just adding one for now. This one would start here and I would say here, and these will be red, great. Now let's just see the rotation. Rotation is fine. I think the scale, let's make that smaller so we can have some different shapes. And these effects can actually start here when the red wave start their animation. I am going to change the stroke, so this will be a darker red than this red, like this. Okay, and let me see how this looks. Okay, I would like to add one more gray shape that will be from here to about here. This, so boom, boom. Okay, great. Now let's add a few more drops here. I'm going to change the R so we can have some variety. This one will be bigger this time. Let's see the rotation. This rotation should be like this. Replace this key frame at the end, I would say should be like this. And just replace the key frame offset that. Let's see if we need another one. Yeah, let's add just one more. That would be a tiny one. I'm just going to make this scale. I'll take 80. Let's see if 80 would be. Yeah, I think this is good. And just make it great. Now, I'm just going to add rotation here. Yes, replace this. Replace this, and offset it. Let me see how it looks now. Great. Actually, this last one, why not make it start here and end somewhere here? Let's see how this would be great. 17. Polishing the animation: Now I'm going to write. Click here, Review Composition And Project. Going to open up my composition. And let me see. Okay, so we have this icon here. Okay, so in the original animation, we have this element moving up. Then we have a drop that drops down to form the logo. First, let me just add the logo just so I can see. Oh, and also we change the color of the background and the stroke of the icon because our background is red and the logo is red too. Now I have a reference and I know where to place this element, the icon. I mean, I'm going to hide it just for a second, so I can see the timing. This is when this icon forms. Actually, I wanted to move exactly like when the animation of the trim paths stops. So I'm going to add a position key frame to this air because we already have everything parented to this air. I'm going to easy ease it, let me hide the logo. I'll go to about, I would say, 10 seconds, 22 frames. And I'm going to first animate the position like this. Then I will also add a keyframe for the rotation. And I'm going to rotate it a little bit, change the position to be here. And also the scale. I want the scale to be animated too. I just wanted to be a bit smaller than that. Yes, I think this is perfect. I think that might be too fast. So let's see now this is great. Actually it is great. Let me just open up the graph for the position and smooth it. Okay, great. Now let's add three more key frames. Here we are going to make this icon go down and rotate, and then go here and copy in the key frames. Let's see how this looks. Now this is where the drop will animated. Now let's throw a simple drop with the pen tool, make sure the stroke is what I would like to just make some adjustments to the shape I don't like the way now. Great. Let me open up the stroke and make it round up, round joint. Great. Yeah, it looks better, but this shape is still looking very good. Okay, I think this is amazing. Now let's change the anchor point by clicking y. The anchor point should be here. Now let's rename that P. Let's parent the drop to the new object. And I would like to animate the position scale. I won't be animating the rotation. This animation should start. I think here actually, you know what? Let's not parent it, because otherwise we'll have it moving with the new. I think that creates some problems. Make sure the scale is zero at the start. Then I would say here, like a couple of frames after this keyframe where the icon goes down, make that 100. Now let's change the position by this time. Again, a couple of frames. The last key frames just make this rope here. Now actually here, because this is the anchor point, and this is from where the scale will happen. I would like to change the scale, choose zero. Let me see how this looks. Okay, great, I think this is very smooth. This is great. Now let's make sure this animation. Let's see the timing now. When this rope, it should be I think somewhere around here. Boom. And I'll actually cut this are a bit. And also we are going to adjust that. Let just make sure the air starts here. Amazing. Let's see, the whole thing now. Great. Okay, now the only thing that I want to change would be at this time, this is when the icon goes down. I would like to change the background. I'm going to control shift and D and I'm going to add a few effect to this background. I want to make it white. At the same time I would like to change the stroll cower of this element. I am going to open up, this is this part of the element. Let's start with this one. I'm going to open it up. Cower, Let me see when this transition is happening. Okay, exactly. At this time, that's 11 seconds, one frame. In my case, I want this to change to red. Now I'm going to copy these two key frames. I would like to this icon our key frame for the cower of the stroke, and paste the key frames that we selected. And also, I am now searching for the little element in the middle. That was this one. Okay, Stroke past now let's see. Okay, great. At the same time we are going to open up the drop and repeat the same process here. Our key frame for the stroke, and then past the key frames that we had. I just noticed that this one has a field. Let's remove the field. We don't need it now. Let's see how it looks Great. Now at the same time, I would like to finish this animation with an exit animation of this icon. We already have everything parented to. Now let's add a few key frames here. And I would like to just make that rotation. I just want to be rotated two times. This is a bit too fast, so let me extend that. At the same time I'll be animating the trim paths. I'm going to click on these elements and click you. And then I will add a key frame for the end again. By this time I want it to be zero. I want this one to be 02. Let's see how this looks now. Great. The only thing left will be to animate this shape two, let me find it. Do we have the trim pads here? No. Okay, let's add them trim pads and add a key frame for the end here. Make that zero. Amazing. Let's see how this looks. Great. Actually let's just add a position to so I can go down as. Yeah, great, let me make that 100 amazing. This is half of the animation. And then I'm going to preview everything that we created. Amazing. Okay, I think the timing is right to let's start from the beginning and let's preview everything that we created together. Okay, this looks amazing. And I really hope you guys enjoyed these lessons. That was a pretty nice animation. There were some complex techniques here. I really hope you enjoyed it, and I hope that was helpful. Thank you so much for your time and I'm going to see you very soon.