Kinetic Typography - Creative Text Animation in Adobe After Effects

1. Intro: Kinetic topography is wild. Squash, can threats. And how about VO? You can also go funky like this. Hi guys, My name is Martin. In this class, I will show you creative ways to animate texts in Adobe After Effects. The class project, you will animate your chosen words or even a message from the cost that you believe. You will learn techniques such as strategy, font, liquid tags, custom pixelation effects, factor distortion, flag displacement, or offset half. And most importantly, you will learn how to stack all of these effects in your own unique ways. This class is for everyone that likes typography, animation. You don't need any after effects backgrounds. If you are progressing now, there might be new tips and tricks for you to see you in class. 2. Project Breakdown: In this class, we will use the working file provided as a guide and starting point. So let's open it. If you download the working file, you will see a folder like this. And we will open this up to Effect files. Studying other people's working file is a very good way to learn. So whenever you have a chance to access working files, you should do it. This class can be broken down into 11 different small exercises exploring different techniques. So if you see we have 11 pre-comps here. And if you double-click this, you will see one by one, like this. And this is the second one. The third one, the fourth, and the fifth, the sixth, this crazy madness stuff. The seven, which is a liquid Doppler effect. And then the eight is a wave effects. And the ninth texts follow path. And then the last one will be this flow motion. The first lesson covers basic navigation and functionality of After Effects. We will explore something like a position scale rotation. A little bit of text animator effects. If you are a beginner, I recommend you to not skip this lesson. If you are more experienced, you can skip and move to the next lesson. To get the most out of this class, I highly recommend you to stop after every lesson. Redo the exercise with your own selected words and post the results either here or on your social media. Then only continue with the next lesson. Are you ready? Let's start with the first lesson. 3. Basic Navigation: Alright, we're going to use the same file is provided in the class material. So you can navigate to this folder and then you can open this up to Effect file. And you will see something like this. Before we start. Let's save this file so we don't touch our original file. Go to File, Save As. And in the same folder, we can just call this or you can call it anything you want. But I'm just going to call this kinetic type. My training. And the score is 01. Save. You might not see the same layout that I have here, but it doesn't really matter. You can actually go here, Window, Workspace and you can choose whichever that you like. The effect has a bunch of template for you to use. Overtime. You will learn which one that you like best. But for this one, Let's start with effects. And don't worry if you accidentally move your window like this or you maybe you accidentally close something, you can always come here, Window, Workspace and reset effects to save layout. And it will go back to the initial state. Okay, let's start with this effect project. I actually don't really need this. So I can just close this panel. Because this panel, and I want to add something. Here. You can actually see all the types that is in the layout. And let's say we need character. You can just add and it will appear here. I also will add a line. Maybe. We can also move it up and arranged like this. Okay, so let's start with the first material, which is this one. We're going to do this versus kinetic topography. And we can double-click on this. And if I press Spacebar, I actually can navigate down here. And I can enlarge this area. I can make this fit. If you want to zoom in or zoom out in this panel, you can use your middle mouse button like this. Or you can also use Command Minus command plus to zoom in and zoom out. Or you can also use this magnification. My case, I will just use fit. Let's check what is happening here. So first, this is scaling up. So this is kinetic layer. If I open this, you can see that there's a keyframe on the scale. So if we analyze this, the scale goes from 0 to a 100. And then there's a position. So from this position, it will go up to give space for this typography. And then we will go here. And if we open this scale, these texts topography is scaling from 0 to 100. So that is what happened here. If we press Space bar here. That is what happened. We can ignore these first four now. Okay, Let's try to recreate this. So first of all, let's close this folder and we will create our own folder. That's called this training or whatever you want. And we will create a new precomposition. So while this is selected, go to Composition. Click New Composition. This dialog box will open. Let's call this 01. I will just add my intro. Actually on this practice, we will just use the Instagram square ratio. So I will use 1080 by 1080. This is actually the Instagram square dimension. So we will use 108080. Make sure this is square pixel, and we will use frame rate the D, the duration, maybe let's make it five seconds. So this is, this is frame and this minute, we'll just make five seconds for now. Background color doesn't matter. We can change later. Click okay, and we will be provided with this empty state from time to time. Don't forget to save. Or you can press Command S. 4. Basic Animation: Let's create the text. You can type anything you want. For my case, I'm going to type kinetic. And we're going to use a font called Monstera. It will be provided in the class materials. Other than that, you can also download it from the Google font. This is a free font from Google. So you can just download the whole family and then install it, and then it will be appearing in After Effects. So back here, we want to center this to the middle. I'm going to turn on the action safe area by pressing the apostrophe. So we can see where is the middle. And then I want to put it on the middle. And let's talk about these settings for a while. So in here, you can actually scale, scale things, or you can move things by moving like this. Or you can also move things by dragging this number, this is x and this is why you can also rotate things. Something to take note of is the anchor point. So if you see this thing that Let's zoom in here. This is the anchor point. So if you rotate the object, it will rotate from that anchor point. You can chase anchor point by using this tool. Or it's also easier to use this one. Pen behind tool. The shortcut is why, if I click here, you can click on this anchor point and then you can move it anywhere. If you click and hold command, it will lock to a certain area of the object. So for example, you can knock to the middle or you can look to the side, or you can look to the corner. And if you put the anchor point here, if you rotate the object, it will be rotating from this point. Let's move it back to the middle. And then I want to put this object to the middle. Before I do that, I will go back to my default tool, which is selection tool V. And I will zoom out. And I will use this align tool. And I will align layers, the composition. So if I click this, it will be centered to exactly center of this art board. Let's use a size of eight maybe. Yeah. So now if you want to animate something, you need to create a keyframe. So for example, let's say this is your N position our click on the stopwatch to create a keyframe and then maybe drag it somewhere here. And then I will move this. When I move this object automatically, keyframe will be created. And now if we press space bar to play this, it will move really fast at the moment because it's actually only six frames. So if we want to make it slower, we can move this to the second number one. Then it will be really slow. If you want to scale. You can set a keyframe here. And you can go to somewhere here, maybe make it larger. And then if you play this and maybe we want to rotate here, you've set a keyframe and then move a little bit. And then you rotate maybe 90 degrees. Let's pay our animation. So if you see the keyframe at the moment, the movement is very linear. There's no speeding up, there's no flow to it. So if we change, select all of these, and then we right-click keyframe assistant, easy, ease. You will actually adding a slowing down here. And it's slowing down here. So it will go out slow and then come in, Come in slow. If I make it faster, I think it will be more obvious. If you want to make it even more extreme, you can actually select the keyframes. Click on this graph editor and then make sure you are on the speed graph. Select this and then enhance, drag it to enhance the curve. So if we see now becomes very snappy after the other as well. Select this more extreme, like this, make it more extreme. And this one as well. Now we can see that the movement is very snappy. So this is easy, ease, which is making things more easing. Yeah, I will actually delete the whole keyframe. I will actually go back to this position, which is middle, and then select every keyframes, delete. This is just for you to play with all these settings. Once you are more savvy with all these keyframing, we can go to our initial training. Now. Let's do like our example. If we see again our example, if I press U, it will actually open the parameter. The parameter already has keyframe. So if we see now, we want to make this text kinetic scale from 0 to 100. And then it will move up to give place for the typography. Let's do that. First, we select this at a keyframe on scale, maybe ten frames. This is the end position. So I will move that keyframe here and then move back to 0. And then I will change this to 0. So now we have that animation. And I will select both of these. And then right-click keyframe assistant. Easy ease. The shortcut is F9. So if I make it easy ease. So I have this now. And then I want to stay for awhile for about ten frames. And then I will set a keyframe for position. Go to 1 second and then move it up. Actually, before I do this, I should have greater than other texts, but it's okay. Let me just click outside and create another text. Let's call it typography. Select on this V2. Let's move the anchor point to the middle. Use this tool hold Command so we can center it, press V to go back to this tool, use the align to make it center. And this will be the position of the typography. So let's adjust this kinetic, select this kinetic, move it down a little bit. So this is will be the end position after it's giving space for the topography. Okay, let's turn this keyframe into easy ease as well. Right-click Keyframe Assistant, Easy Ease. Let's see how it goes. Let's hide the topography fors plus spacebar. Looking good. Let's turn on the topography. And then we want to move to this keyframe on the typography. Let's press S for scale. You can also just open this arrow. S is a shortcut to open just scale the press S, set a keyframe. Move back here, set a keyframe to 0, and then select both of them. Right-click keyframe assistant. Easy, ease. Let's check our animation goes. Yeah. So if we see now this kind of overlapping here, I want to actually parent the typography to the kinetic, so it will inherit the position. So there's a pick whip here. If I click and drag this to the kinetic, before you do this, make sure your timeline indicator is here, not here. So the parenting will be defined by where your time indicator is. We want to parent when the position is here. So let's make sure this time indicator is here and then select this topography. Click and drag to the kinetic. Now, if we move this kinetic anywhere, that topography will actually follow. Let's undo that. So let's check. It will not overlap anymore because when that can tax kinetic go down. Texts, epigraphy also follow it go down. So if we take the animation now, yeah, much better. Let's make the animation more extreme. So I'll select this keyframe, go to keyframe, graph editor. Make it more extreme, make it more extreme. And then I select both of these. Click and drag. Go to this. Select. I could more extreme. Select this. Make it more extreme, and go back to here. Let's check our animation. It's much more snappy now. Alright. So we learned about position scale rotation opacity, and we learn how to parent layer to another layer. Next, we're going to explore text animator. 5. Text Animator: Let's get into the second part of this texts while this one. So if we analyze this, what happening here. This layer consists of one, the solo, this one word, wealth and emitting light from nothing one-by-one coming out. And once we have this, I duplicated that. But this time with only the stroke, I duplicate a lot of them. And they just stuck a different timing. So if I turn off, if you see one by one, they will appear. They are all using the same source. So let's get into this. I'm going back to this. And this is what we've done just now. And at this point, we want to cut and go to the next thing. I'm going to, I'm going to select these two and then I will bring this N part here. You can also do it by, let me undo this. The shortcut is Alt or Option and close bracket. It will trim it here. If you see now. And this will be the second part. Okay, So let's close our render region here. So render region is the area where you can play your animation. If I close it like this, it will only play in this region and then it will loop back. So now we want to bring this here, so we will not see the beginning part anymore. We're just going to start from here. Okay, I'm going to create a text. Let's type something longer to demonstrate the technique. Amazing. And I will again centralize this anchor point using this tool holding command. So I can centralize to the exact middle, press V to go back to this tool. And then I will use a line to the center of composition. Okay? Then I will bring this here. So we start this layer exactly from after these texts. After the tobacco-free cut, then we cut to this scene. Okay, let's start from here. I will open this arrow. I will actually close these two and then opened it. Andrew. And I will add, if you see this, this is animate and this small arrow, if you click here, you can add different things to this, to animate this differently, I'm going to start with animating scale. So if I add this, it will add this scale and range selector. I'll open this range selector. And what we want to do is to animate the texts from nothing to this size. So in this scale, what we really want is to animate it to 0. But to demonstrate the technique, I will actually use non-zero but maybe 30. So you can see what's happening with this layer. Maybe 50. Yeah, So at the moment everything is scaled down to 50. If we see this, there's a start and end point. The start is the beginning of this text and n is the ending. So if I move this like that, you can see that this beginning part moving here. And if I animate, if I move this end part smaller, you can see that the line is moving here. So this is the area that is affected by this scaling. You can see that they're getting smaller while the rest are not. Offset is when you move this to the left and right, it moves this area to the left. Alright? So something like that. So what we want to do is to use the combination of this technique. So if you see, let's say I move this to 0. You will find this. And if I animate this from left to right, it will actually do that. This area will be gone. Let's use 50 again. And I will bring this back to 0 and bring it to the initial state, which is 0 and then 100. So this means the starting is still hear the ending is here. Simplest way to animate this is by just animating one of them. So for example, starting, maybe we set a keyframe here. We start from, Let's actually bring this to 0. So we start from nothing. And then after maybe ten frames, it will go to 100. Play this animation space-bar. You can see that it's getting there. They are animating one-by-one. It's not bad, but we can do better than this. So if we play it like this, if we play slowly, you can see that each of the texts wait for the first one to reach the end position, then only the second one came out. Same with this. The better animation will be when this first letter is animating halfway. The second one is already appearing. So you can see that there's a flow to it and as a smoother transitioning. So to do that, we need to open the Advanced tab and change certain things. So what we will touch this, this area, this is the one that will define the transition. So at the moment is set a square. It means that you have a box. And then you move the box to the right. Box is very straight, so there's no transitioning. But if we change this to ramp up or ramp down. So if I change to ramp up, you can see that there's a gradient. There's a great deal going down to the initial state. But it becomes a bit weird. This is because when you are using this ramp up, we cannot use just one anymore. So I'm going to actually delete this keyframe and we will instead animate the offset. So if I set a keyframe here, and I move this offset to the minus 100, and then move this to ten frames and move it to 100. We can see that we get the desired result. Yeah. So if you see before the first letter even reached the final position, the second one already come out. And so on. So this is the better way. If we change this to ramp down, it will be the other way to animate out. Usually, ramp up is used to animate in and ramp-down is used to animate out. So let's change this back to ramp up. That's a lot of settings here. And text animator is actually a very deep topic. So if you want to fully understand this, is going to be very long, but I highly recommend you to watch this tutorial by school of motion. I think these two, you can start with watching this 1 first and then only watching this one. I think these two is the best text animator tutorial out there. So back to our project. Okay, so we got this desired effect. Now, let's duplicate it. There are two ways to duplicate this. One is not so smart way and the other one is a smarter way. They're not so smart way is something like this. So I will duplicate this by pressing Command D or Control D on Windows. And you will have two copies now. And I can bring this up. I can actually swap this so it becomes stroke. But at the moment in the story is too big. So I will reduce this to maybe one. Let's change this to four rest so we can see. Okay, yeah, this is the stroke thickness. So if you increase this, it will become thick. But on our case I didn't, I just want to have thickness of one. By the way, if you see here, you might notice that when I turn it to how phrase, it becomes a bit pixelated. So this will be faster on your system. If your system is not a very powerful then you might want to reduce. Third is even lesser quality and quarter is even less equality. So if you have a powerful computer, you can use for different magnification actually also will have different look. Sometimes if you change this to a smaller or different magnifications, sometimes they will get looks pixelated also, but it's actually fine when you render it out. It's not gonna be like this. So I'm just going to turn it back to half. So this is the not so smart way. So let me duplicate this again and then I can just move this. And then I can duplicate this and duplicate again. And then what, what I initially did in our example, it's like after this we will just go to the timing like this. So they will come at different timing, something like that. So you just need to duplicate as many as you want and then position them wherever you like and then stagger the timing like this. That's essentially what the technique is. But now why I'm saying that this is not so smart because like, let's say your client wants to change this text. He doesn't want a text. Amazing. Maybe he wants like bravo or something else. Now you have to change the other texts. All of them one-by-one. So imagine if you have 100 layers here, you have to change it a 100 times. So this is not a very efficient. Let's undo. And I'm going to show you the power of precompiled. Going to delete all of them. I'm going to pre-comp this by pressing Command shift C. Or you can also go to layer pre-compose. Command shift C or Control C on Windows. And press this. It will ask me to name. You can just leave it like that. And then I will just leave this all and then press okay. And then when I do that, you will realize that it becomes, the icon changes to a pre-composition. Actually, I will close this. I think it will appear here. So this becomes another composition. If I double-click here. This is another precomposition. Precomposition is like a smart layer in Photoshop. So if you change something inside, there will also be reflected outside. So for example, let me just duplicate this again, maybe multiple times. And then I will just move it again roughly like this. They are all the same copy. But now let's say you want to change this word. You just have to go into this precomposition and then change the text to bravo. And then when you go back out to the outside composition, you can see that every text is changed. So if we staggered the timing now, you will have the effect. And all the texts. You just need to change it once and then everything will be updated. So this is one of the power of pre-combustion. We'll get into more complicated examples later. But this is in principle, this is like the technique that we will use over and over again in this tutorial. Okay, let's do it more properly now, I will delete this, them all. Maybe change back the texts to amazing. Let's make it bigger. If you hold Shift while you if you press up and down here, you can make it bigger or smaller. If you hold Shift while doing that, it will jump by ten. So I think I'm going to leave it under 30. And then this combination is very big. So if you go outside, the size is exactly like this. So when we duplicate this and move it, it's actually quite difficult to select the other layer because the bounding box is very big. So we want to shrink down that composition. So let's get in, inside decomposition again, and then let's make this composition smaller. You can press Command K or you can also access here compositions are things Command K. And then let's make this smaller. We can just direct like this release and then you can see that the conversation getting smaller. I think something like this, okay? And let's make this smaller as well. Basically we want to make the bounding box is just almost the size of it. We don't want any excessive blank area. I think this is good enough. So let's click. Okay. The size of decomposition is just like this. Let's go back out. And then now you see the bounding box is close to that text, so it's easier for us to actually put them in the proper layout so I can copy like this. But what I want to do is actually to have to have it just outlined. So I will undo this and I will actually duplicate this pre-comp by actually just Command D here. Select this pre-comp Command D, and then I have the second one. Press Enter. Let's rename this. Maybe name these two stroke. Let's just call it amazing stroke. And then change this one to amazing fill. And then let's take this amazing stalk here. Bring it here. This is two different precomposition. If we double-click this amazing stroke, we can change this. Sop it, change it to one. And then we have this as a stroke. And then now we will duplicate this stroke a lot. So I will duplicate again, put it down, duplicate again, maybe put it here. Duplicate again, put it here. All these four. Let's move it here so it will appear slightly later. And then let's duplicate. If I select command, I can select them differently, like maybe this and this. But actually I want to duplicate this one. So duplicate. Bring it up. This one, duplicate. I will bring it up. Here. It's like both of them duplicate, bring it down. And then let's move this for like the tool frames after. I'll speed up this process. But I think you get the point. Basically we want to just duplicate a lot and then stagger the time. Okay, so we got the whole thing. Of course, you can spend time to just play around with the placement of this timing. But essentially this is what it is. You make one or two copies of the original and then you just duplicate them and then stagger the timing like this. This is a very powerful concept that we will keep on playing around in this tutorial. And you will see later how we can bring this further. So you've learned about the power of reconvene. In the next one, we will play with squash and stretch effect. 6. Squash: Alright, let's move on to the next exercise, which is discourse. So this is our example. If I double-click these scores, we'll get into this precomposition and actually I will close the other training just now so we have a clean work area. Okay, so let's analyze what's happening here. Let's fit the zooming and something like this. So if you see this similar, there's a fill and stroke. But what happened is scores and then it will go back to the original state. And then while it's squeezing the other, the stroke one, it doesn't get squashed, but it follows the size, it fill in the space. So if we get into this precomposition, just go in, actually consists of this is just a one copy. So it's a similar technique. So we make one copy and then we duplicate multiple times and then we staggered the timing. So if you see this, they all animate a different timing, but they are actually one composition only. If we see what's happening here, I will select all of them, press U to open the keyframe. So what happened is this one is the field. We animate the scale of this. But this proportionally. So from a 120, it will animate to 47 squash, and then it will maintain for awhile. And it will animate back to its original state. And it will stay for a while. And then we will learn expression. If I press E to open the expression, we'll use this simple expression loopOut. It means that it will have to erase the end of the keyframe. It will look back to the beginning forever. So if I open this, if I play this, it will just keep on looping this keyframe forever. So this is a smarter way rather than copy pasting all these keyframe multiple times. So this is the middle one. So let's see what happened with the rest. Basically when its course. All this thing will animate the position to fill in the gap. So if you see it start here. But when these things cause they will move to the left and this one move to the right. And then what happened with the next one? The next letter is actually this one. It is actually parented to this one. So whatever distinct does, this one will follow. So that is basically something like that. Okay, let's create this, go to our folder. Create a new composition. Let's put ten by 1080, which is Instagram square ratio. This is 30. Let's put five seconds, or maybe seven. Okay? And we will rename this. Press enter. You need to click here. Press enter, call it 0 to underscore squash. Great attacks. You can call it whatever you want. Maybe this time I want to say what? Let's make this feel worse than the original. And again, I want to centralize this. So we use this pen behind tool. Why? There's chocolate wine, how command to centralize this? Press V. And then I will align to the middle exact center. Let's anyway this press Scale S for scale and then set a keyframe. And then I will want to untick this, because if you leave it on, if you scale this, it will scale everything proportionally. But if you uncheck this, you can animate just the x axis or the y-axis. On our case, we want to animate just the x. And let's move to 20 frames and then cross it like this. It's very slow. Let's make it faster. We can actually zoom in, zoom out this, This timeline by using this. So we can access a deeper frames. Or you can also press minus or plus to zoom in or zoom out. Still a bit slow. So let's move it to five frames and then select both of them. Right-click and turn it into Easy Ease. Almost always, you never use linear keyframe. Just ease them. Yeah, something like that. And then maybe after saying for a while, let's set another keyframe and move another five frames. Copy this one, select command C, and then Command V. Let's see what happened. Yeah. Okay. So it's something like this. But what happened is like we want it to repeat not only one time, but we want it to be repeated multiple times. So they're not so smart way to do that is just by copying this, like select all of them. Command C, There may be more somewhere here. Then your command V, sexually maybe here. And then you move somewhere here, then Command V, and then keep on doing that. Then you will have a continuous, something like that. But let's undo that. I want to teach you the expression. So the expression is like You need to Alt click on this stopwatch and it will open this expression window. You just need to type out loop and after effect will suggest you. So the common expression, we want to use this one, look out there and then click outside. Now, if we play, it will keep on repeating. But something weird happened, like it will immediately doing that because we actually need to. So if you think about it, this one is like scaling down and stay for awhile. And then scaling back. We need to actually stay for awhile. Then only it will repeat to the first one. So in that case, we just need to move somewhere, maybe here, and then copy this one and then paste it there. So now if we play, it will be something like that. Okay, so we get the first part. Let's do the other ones. Let's duplicate this Command D and move it here and change it to stroke. At the moment is also scaling, but we don't want the scale. So press U to open the keyframes. And then I will go here and then actually go to when it's like this. Let's delete the whole keyframes. Delete, and we also want to delete the expression. So press E. We to open the window, select here, delete, click outside. So this is clean. And what we want to animate is the position. So let's select this, press P for position. And then let's create a keyframe. This should be the same keyframe. I'll actually, let's move to the beginning. Here. You need to move distinct here to compensate for the space. And then it will stay for awhile. Create a keyframe here, and then you copy the first one, command C command V. Stay for awhile. Set a keyframe. Turn everything into Easy Ease, right-click. And then we also want to add expression to it. So holding Option or Alt, click the stopwatch and then loop. Select loopOut, Enter, click outside. So let's see what's happening. Okay, Let's do the other side. Let's copy this one, command D. Press U. To open the keyframing. We actually we'll delete the position, but we will maintain the expression. Delete all the keyframe, and then we move it here, somewhere here. And then let's go to the beginning. Set a keyframe here. Move the position somewhere here. Stay for awhile. So the keyframe, you might not do something weird. There's no undo this. Don't worry about this. This is because we have a look at question. So it's only looping this to keyframe at the moment. Just come here. Set another keyframe, then it will be okay. And then here we copy this one command C, Command V. Then move here, and then just set another keyframe. Select all of them. Right-click keyframe assistant, easy, ease. And let's see what happened now. That is what we want. But now we want to duplicate them multiple times. So we need to pre-comp them. We can do pre-cum on multiple objects as well. So that is what we want. So select all of these, press command shift C, or again, you can go to layer pre-compose. Just call this one. Okay, then it become one. Again, we want to compress the bounding box. So let's go into this. Actually, we see that this is getting cropped. We don't want that. So let's open the conversation setting Command K. Let's enlarge this until we don't see copying. Something weird is happening. Okay? I think they are not getting anymore. Let's bring down this one. That's okay first, so we can see at the middle and then Command K again. Let's sing them down. Let's click. Okay, every time you see that, a bit laggy like that, then you can just okay it first. Let's Command K again. Think it down a little bit. Yeah, I think that's looks about right. So click, Okay, yes, close this big calm. And then now we can duplicate this multiple times. Command D, bring it up. Command D bring them up. Actually, I think it looks a bit too small. Let's undo that first. Let's make this bigger scale and then make it bigger, maybe like this. And if you notice, let's go to a full resolution. Sometimes when you enlarge things like this, thinks it looks pixelated. But we can actually make it sharp again by going in. Let's just check that the sun is on, on all texts layer is a vector layer. So you can technically enlarge this to any size one. But outside here, we just need to turn on the sun and you see it will become sharp. So let's make it smaller. Yeah, something like that. And now we can duplicate bringing it up the bucket again. That's roughly it. Then. Now let's start there at a time. So let's select all of them. Move it. And then let's check which one is what? Less than these two. Okay, this tool. So let's see what was happening. Let's move everything slightly like this. So we start with 0. And then like that. Yeah, maybe it's too much. So let's make it just one frame different. Okay, so that's the technique. Next, I will show you how to render this out into MP4 file. 7. Render: There are two ways to render your video. First is you go to this, make sure you are on this quasi send that you want to render. So go to composition, add to Adobe Media Encoder Queue. If I click this, you have to wait for a while. It will open Adobe Media Encoder. And when they open, you have to still wait until the texts come out. This also might take a while, so just be patient. Sometimes Adobe Media Encoder link with an after effect is a bit buggy, sometimes distinct doesn't happen if that happened, when I will show you the technique later. But yeah, this is appearing. So we can now render this out to H.264 by default is already giving you this H.264 Match Source High bitrate. And this is already a pretty good settings for social media. So what you need to do is just to go here, click on this, and decide where you want to save it. So usually I will create a folder called output. And then you can name it whatever you want. This one hour call it What? Click, Save, and click this, and then wait for the render to be done. Alright, the render is done. Let's check the render. In this output folder, we have now this video of cold water. And you can just send it to your phone and then post it to your Instagram. Okay, Let's get into the second method. The second method is to convert this into a quick time progress fors. So you go here, Composition, add to Render Queue. And it will open this dialog box. You can click on this high-quality. And then by default, I think it should give you a quick time. And Apple ProRes, if you are in Mac, you have selection of Apple progress. But if you are in Windows, I'm not sure we have this. You can use animation. Animation is also a very high resolution file. The size will be quite big. But after this, we will convert using Media Encoder again to mp4. So Apple progress is a very good quality video, but the size is bigger than a so 64. So we just need to compare it to this. And then from here we will convert the H.264 and then delete the progress. Okay, let's do that. So quick time. Apple ProRes four to two. We don't have audio, so this doesn't really matter. Okay? Okay. Then this is click this, and then you can set where you want to save. Your file. Can come here and then save it as what progress? Click Save and render. Okay, it's done. Let's see our render. This is a very high-quality file. So if you see the size is 78 megabyte, while this one is only 3.6 megabyte. So the next step is to convert this progress into MP4, and we can use Adobe Media Encoder for that. Let's open our Media Encoder. Drag this progress here. And then again, it's by default giving you a C64. And then you can just hit here. Just name it. What number to save. Click. Okay. And it will be finished. And then you can see, essentially you get the same result. But you might think, why should I go to progress for us this because sometimes your Media Encoder doesn't really work well. Like maybe you wait for very long, but then this thing never appear. Or when you click render, it just stuck at that loading. If that happens, that means there's something error with your linking. And the other way to do it is just by rendering it to progress for us. Because when you use this render queue usually never fail. So from there then only you send a result of the render to the Media Encoder. Yeah, essentially how you render. And next, we will get into the strategy for this is quite exciting. So, yeah. 8. Stretch: Let's close all of this. So we've got a clean start and just lift the edit. So now let's get into this one. This one is a very fun exercise. Let's get into the stretch, analyze what's happening. So it's again a similar, the base is like one fill layer and then the site or the strokes. But how do we get into this strategy font? Let's get the double-click. You can see again that is another multiplication, duplication of the same layer and then stagger the timing. Again, similar concept and they will animate a different time. Yeah, Let's double-click this to get into the inside. So this is the main one. I press U to open a bunch of these and path animation. So what we going to do is to animate the path from normal to stretch. And then these are the other two sides that is only animating position. It's the same like desk now, just to fill in the blank. Okay. Let's start. I'm going to close this. I'm going to close this and get into our training folder. Again, let's create a new composition. Call this 03, stretch or stretch. Use Instagram square ratio. I press Tab to jump to the next column. And then 10888030 frames per seconds, seven seconds. They okay. Let's type our word. You can type anything you want. I'm just going to type dope. This effect actually is easier on a uppercase letter. So I'm going to just use uppercase. And then I want to something like this. And again, I want to centralize this. So how common centralize bus? Middle of the composition. Let's make this bigger. Actually, don't use the phone, maybe we use the scale so we can scale down the middle S for scale. It'd be like this. In order for us to stress the font, we need to actually convert this into a shape layer. So you can right-click, Create, create Shapes from text. When you click this, it will hide our original texts and turn this into a shape layer. So let's open this up layer. And we will animate, will open this. And it will animate the path, the first one, yeah, let's animate the D. Set a keyframe. And actually we can just set them all at the same time. So this also we want to set the path. Let's go down the P. We also want to animate the path. Then the E. We also want to animate the path. Now this is a very big scrolling, so I'm just going to set, click this and then press U. So it opened only the parameter that has a keyframe. Then we can work in a more timely manner. We cannot see with our width now, but I think we will be able to tell when we move here. So I'm going to move to maybe 20 frames. Let's zoom in. Press Z to zoom in. Or you can also command plus press space bar to navigate this, press V. And then while we are on this path, will actually select this, stretch it like this. And then select all of them. Move it here. Maybe make it even more extreme like this. So you can see that it will move like that. Okay, let's animate the Oh, I'm assuming these two must be the, oh, yeah, when I select this layer selected. And o is more tricky because if I see, if you see like this, and then I move it, it will become the ship not so nice. So I'll undo that. We need to create extra point here. So I'm going to come here. Maybe zoom more, press G for this tool, pen tool. And then actually I will add c When, when I hover, it will become plus. I will click here, and I will click here. So it's adding a point. Actually, I will also add point here. Yeah. Okay, So here, press V again. Let's now select all of these points. And then when I click like this, Let's zoom out Command minus. Now you can see that it's a step is nicer now because we have enough points. So I'm going to do this. And then let's animate the E. The E is the easy one. There be something like this. Take them all, move it here. And then now the p, select this, and then this, do that. Okay, That's fit. Then let's play this. And you have a saxophone is really slow. Now, let's actually come here and then select this and then make it like this. Okay, Let's make it faster. Maybe ten frames. And then turn them into easy ease. So right-click Keyframe Assistant, Easy Ease. Yeah, something like that. And then maybe after here we set a keyframe, and then here we copy paste. Copy paste. Yep. Now we want to look, of course you can again copy paste the keyframes, but we want to always work smarter by using expression. Now, the loop expression for path is not as simple as a normal loop expression. It will not work if you use the normal one. So let's demonstrate that if I Alt click here and then just put the loop out, it's giving us this warning. Expression doesn't work. Let's undo that. And we will use another expression. But this time I will copy from this awesome expression from a Aegeus.com. So I will just going to copy all of this. You can always go to this website and select until here. Yeah, and then Command C, Come here. I'll click Command V. Click outside. Yeah, basically it's working. But I need to apply to this as well. So let's apply to the rest Command V. I'll click I want to V. I'll click Command V. I'll click Command V, that expression, I'll click on V. And the last 11 V. And let's check it out. It's working. But again, I think we forgot the open pursue. Yeah, I also need to copy the first keyframe. This keyframe, copy and paste. So it will stay static for awhile. Yeah, let's play again. Alright, let's add the other one that's activated back our texts. Duplicate, hide it on top and then turn it into stroke over to the side. And we want to animate the position. So press P here. So when is here, you want to move it here. Then it will do that. For awhile. Set keyframe, move back. So copy paste, copy paste, select all of this, turn it into Easy Ease. Now, we also need to look this. So this one, we can just use the normal loop. Look out. And yeah, it will work. Okay, Let's duplicate this. Duplicate. Press. You, delete the position, move it here. Go to the beginning, set a keyframe. Here. Move it to the right, to the left. Then copy paste, copy paste the beginning. Copy paste, and then select all right-click. And then easy ease. It should already have the loop expression because we copied from the other one. Yeah, so that is how you do the strategy fun. Let's do the play camping and duplicating and staggering time. As usual. So select all of these three, press Command Shift C to precompose. Or again go to layer, pre-compose this the same thing. So let's call this dopey monster or anything you want. Okay. Go here and then again, we want to swing down the end. We want you don't want to crop this. So we need to adjust the composition settings. Should be much bigger, much wider. Yeah, I think this is good. And then we want to shrink down the height is too much. Okay? I think that's about right. So something like this. Just go back out. Cool. Now let's bring this up. Or you can copy like just now, but this one, let's just do it from the top command D to duplicate it, move it down. You can also move it down by holding Shift and then press down. It will move by ten pixels down. So we've got exact same distance every time. Command D again. While holding shift, you can put down Command D again, hold Shift and press down Command D again. Wendy again. Monday again. Yeah. And maybe move everything up a little bit. Yeah. Maybe something like this. And then let's stagger the time. Maybe by two frames. Okay? Yeah, this is actually from down here, but of course you can do it from the top. You can just flip it. Yeah, this is one. Next visit. Combining these two. 9. Squash and stretch: A new home position to training folder again, composition, new composition. Again, then 808030 frames per second. So 1 second. That's called this 04. Scores and stretch. Okay. Let's just the dock Master pre-comp. Drag it here. And we will have this that the initial pre-comp that we have created just now. Then we will combine it with what moved up. It looks small. So let's scale it up. Press S for scale, bring it up. Let's turn on the sun. Actually, I think I want to turn this in to uppercase. Let's see whether it will screw up the composition on. Let's go to what? I think we have to adjust certain things. But yeah, let's just do that. So it's more uniform. We just need to adjust the position of this. So select, when you click this text, it will select all of these things and then use this tool V, and then click on this square. If you click on Edit place, actually you can, yeah, let's just move it. Move everything here. You need to make sure you click this. So select all the keyframes, then we can just move everything together. And we will do the same for this. If you don't select the text, you see what happened. If I move it, it will create another keyframe and it will screw up everything. So I'll undo that. Click on this until you see all selected and then you move them like this. So let's see. I think this has to be adjusted a little bit. So let's deselect, go here on this keyframe to move it a little bit here, and then copy this keyframe, don't forget, and then here, paste it. Okay, so now we have this. Let's go back to our course and stretch less centralized this. Okay, Let's do this one. Duplicate the word Command D to duplicate, put it down here. This is up to your creativity, but essentially we just want to combine these two become and then change the timing. So don't muster. Put it up here. Duplicate one more time, pull it down here. This one. Duplicate one more time, pull it down. This one, duplicate one app. Okay, that's roughly, let's see what, let's see how the animation looks like. Okay, yeah, this is something weird because the keyframing is not the same. So let's make the keyframing same, so it has a similar timing. Let's check the what. So basically under what, let's zoom in by pressing plus it goes five frames and then it will stay for about 15 frames until 20, and then five frames. The victim, 15 frames. Let's make it uniform. Go to dope muster, select all of them, press. You. See this is on ten, so we zoom in. Let's move this to five and then move this to 20. And then move these 225. And then if I'm not mistaken SUB here, the last one I think is here, the distance should be just the same. Okay, let's check it out. I think it should be correct. Now, seat. Now you have this. And now it's up to your creativity whether you want to stagger the timing as well. It looks cool as it is, but let's see if we do this. Well, we start from the top, maybe let's start on the top. This is the first one that's moving up so we don't get confused. And then this is the second one. Will be slightly later. There's the third one. Move it here. Then this is the next. With here. Should be the next. Move it here. Let's take the animation. Now. This is also pretty interesting. And if you don't want to start from 0 like this, you can always select all and then move them like this. You just play it. Yeah. So this is all based on your credibility. Play around with it, play around with the timing. That is squash and stretch. So next, we'll explore offset path. 10. Offset Paths: Let's get into this offset path. So this one, I just go to the folder directly and then click composition, new composition. We will use ten by 1080 square pixels, 37 seconds again. As usual, let's name this 05 underscore offset path. Okay, let's create a text. I'm thinking to make this colorful. So let's type maybe rainbow. And again, I want to just make it like this. I use, well, let's centralize the anchor point holding command. Press V for selection tool. Centralize this text. Let's actually make this bigger, bolder text, maybe like extra bold. And we need to centralize this again. And maybe bigger. Alright, let's convert this into a shape layer. Again. Create shapes from texts. And it will hide the original texts and then create a shape layer for us. This time, we will use an effect called Offset Path. So if you click and arrow here, go to offset path. It will do this for you, and we'll open this less than this amount back to 0. So this is our initial state. Let's create a keyframe here. And we will move from here to maybe somewhere in the ten. Set, another keyframe. And we will move back here, and then we will reduce this to nothing. So we will start from my thing, go to initial state, and maybe somewhere here. We'll make it bigger like that. Or maybe we go here first and maybe somewhere here on the second, second. We covered the whole screen. So when we play this animation will look like that. We will need to readjust this later, but now is okay, something like this. Let's precompose this Command Shift C precompose, or again, go to layer, pre-compose and call this rainbow master. And let's play it roughly, something like that. So the way it will work is by duplicating again multiple times and then stagger the timing. So I will select these Command D to duplicate and move it slower. We will not see anything because at the moment the color are the same. So we want to change the color, go to effects and presets here. Fine. If I call fill, generate fill, double-click, and it will give you different color here. So actually this red color, Let's use it for the first one. So I will copy this. Give the first one read, go to the second one and then maybe this one is orange. So we're going to make like a rainbow color and then make it slower. So it appears maybe somewhere here. Let's see now. Yeah, and then let's duplicate this again to indicate move it even further. And then this one has changed it to yellow. You can start to see what we're trying to achieve here. Let's turn it slower. Let's try if it's like this, maybe it's further too far. Let's put it back like that. Let's move at another one. Then this one will be green. Duplicate again. Then this one will be blue. We get again the purple. Then duplicate again. Ping. You can play around with the color as you like. But yeah, let's see. Yeah, something like that. Of course you can readjust this timing or you can also go in here and adjust the keyframing. Maybe this is a bit too slow. Let's see. Yeah, take your time and adjust this until you get what you like. This is actually probably is too too far. I think this should be slower like that. Maybe. Let's take it out. Yeah. And of course you can duplicate this again to pick at all of them and then bring it back like this and duplicate all of them. So we have a full-on rainbow like this. Yeah, feel free to play around. In our original one is black and white, but of course you can play with color and other things. Okay, so on the next one, we'll explore these fancy stuff. 11. Custom Pixelated Displacement: This effect was complicated, but actually you already know probably 90% of the technique being used here. So let's analyze what's happening here. I'm going to double-click this. And we see there are actually four copies of the same thing. So here is one. This is one of them. This is the master of what we're going to duplicate. This technique, use a lot of repetition that we've been talking about over and over again. All of them have a different rotation. So it's like 090 degrees minus 9080. They start from different point problem. Turned into solution. The problem again. So if we double-click this precomposition, this is the source of it. And let's break down again what happened here? There are two things. One is they feel problem, turn into solution to the problem. And then similar technique. I created the field, I had a stroke and then stagger the time a little bit. So it looks like it has a trail. Then let's analyze what happened inside here. Double-click and we see something like this. This is actually if I turn off, we were going to explore this effect called displacement map and most say, so if I turn off one by one, what the heck does is to square, turn this thing into one sec. If I turn off this, this is what the displacement give. The displacement will displace the object. If I turn off, this layer is actually something like this. So if I turn off this adjustment layer and then play the video, it actually looks like that. This is a fun technique that we have learned previously. So if you see there are only two layers here. If I turn off one solution, animating from here, stretching to the, to the solution position. And then you go back up. This is just a stagger off timing of the keyframes of the path. So I'll go down when the rest still going down, The first one already moving up. So this is solution. And then if I turn on the other one problem less than of the solution. So from here, the problem will go down and then go back up. So when we turn on both of them, they will actually meet at the middle. See the problem will kind of looks like intersecting with a solution. It gives you an illusion that the P transform into S. And so on. And then we cover this imperfection with the displacement. So it looks like that. That essentially is, this technique will work quite well on the amount of the latter that is the same. But if, if it's not, it will also work. So if you count this as your solution is like eight words, eight letters, and then problem is on the siphon. But it's still okay because we covered this imperfection with the displacement. Alright, let's recreate this. Going to go to Project to this folder, composition, new composition. Let's call this 06 pixel displacement. D by dy square pixels, 30 frames per second, seven seconds for the beginning click. Okay? First of all, let's choose the word. Like what do you want to transform from an int to? I'm going to try and love and hate. But this looks really small. So let me enlarge it. Let's make something thinner, medium or a bolt that space them out a little bit. Something like this. And then let's duplicate this, put down. Then it will transform love into heat. So first of all, let's convert this into a shape layer. Both of them create. I think we need to do it one by one. Hey, create shapes and then love. Great tips. Then these two is the original. Let's animate this 1 first. Let's activate the extensive area again by pressing apostrophe so we know where is the center point. So let's open this. We will animate the path as usual. Path, path to v, path, ops, ie the path and then press U. So it's clean. And then let's go to ten. Stretch this one. I think we need to have a state. So like first it will go to here. And then at this point, everything will go below the center point. So if we play this kind of like that, It's a bit slow now. Maybe we need to move it here. Yeah, something like that. And less than what they owe. Again, we need to create a point. So let's use D or this tool, pen tool. Let's add a point. Right? Press V. Take them all with like this. Go here. Okay. I made the V. And the last one is E. Yeah, something like this. So we want to create a mask where it will just crop this somewhere in the middle. So to do that, we can select this shape. But we need to change from this to create shapes to get mass. So if we click this and then we click and drag like that. This means that this area will be appearing. Adjust this and then the area outside of this will be cropped. So you'll see it'll be gone. If I double-click this and then move this mass up, maybe somewhere in the middle like this. And then play the animation. Whoops, I think the e, we need to move down. Oh, actually we need to move them back up. So moving down, stay for awhile and set the keyframes. Copy paste this one. Then bringing them back up. Command C, Command V. Let's see. Then they go back up. Yeah, then somewhere here. Copy paste this. And then we will use the same method, which is a looping the path. So let's go back to that website again and then copy this. Go back to AEE, Alt click Paste. I'll click pace, pace of click paste and paste. This will loop forever. But then what we want to do is to stagger the time. Take this slide by two frames, maybe. Two frames. Two frames. All have to be together. I forgot. So these two have to be together. Yeah. So they move at a slightly different timing and they will look forever. Okay, let's do the head keyframe on the path. Pursue. Select all of the keyframes. And then let's go up. I see to make it, to make things easier, maybe I shouldn't step at a time first. Let's put them back to the initial state because this might confuse us when you animate. Let's go like this. And then let's bring this up at the beginning. This one will be up here. And then somewhere in the middle actually we want to stretch them out. Okay, it looks like there's overlap. Then it will continue down. I think we might want to open this mask so we still see the trail. Something like that. And then copy paste this one. Copy paste this one. And then stay for a while. Okay, we need to set a mask for this one. Don't forget to click this as a mass and then set a keyframe, set a mass like this. Press V, double-click on the mask, and then we can reduce this down. Okay? I think we need to stagger the time a little bit. So this one comes a little bit later. Then this one there'll be waiting until this one come up and then it will come back. Yeah, something like this. Basically we need to have them overlap and then we will obscure this with the effect. If they don't overlap, we will not have that effect in tech. So this is the gap. So we need to close this gap. Maybe we need to slow down this a little bit. Or speed this up. I need to slow down this little bit like this. So we have, we always have the two letters intact like this. Okay, that looks pretty good. So let's add loop animation to this as well. E. And then we will copy this. And then we will add click, Paste, click paste, and so on. Something is wrong because I think we don't have yeah, it's correct until here. But then this one comes down. So this have to wait. Yeah, somewhere they're safe. Alright, let's obscurity is with this basement layer. Now. Let's close this and then let's right-click here. New adjustment layer on top of everything. Adjustment layer is actually like an empty layer that you can add the effect to. It doesn't do anything without any effect. So what we want to add is go here. If I can preset, and then we will find an effect called displacement map. Distort Displacement Map, double-click to apply it on this adjustment layer. And let's go here and then let's increase this displacement by default is giving you this will resolve the specimen needs layer for it to displace. So let's go to project and it will import an image. So if we open this jetpack, actually I have prepared this slot jetpack. If you are using the file that I provided inside here, that will be, it can be any image, but this one, I will open this image. It looks like this. We can use this or we can use any image. Doesn't really matter as long as it's an image. So we come here and we will bring this slot down. By the way, if you cannot find this file, you can always go to the Finder. And in the kinetic type in the working files provided, you can navigate to footage JPEG and then des this image. Then you can use this. Or you can also download image yourself from the internet is better if this file size is. More than 1080 by 1080, because that's our resolution that we use. But even if it's like something like this, it will still work. Yeah, so let's use this one. Here. You can just put this image down there and you can hide the image. We don't really need to see it, we just need to use it. So use this adjustment layer again, Displacement Map layer. Let's select the slot layer. Now we'll turn it into something very crazy like this. This is because this effect is using that slot image to displace things. So it looks like something like that. If you increase this bigger, it will go like that. I think maybe something like this. Okay? So if you see it's adding effect like that, then we want to pixelate this. So let's add the second effect is called mosaic, stylized mosaic. So if I double-click, it will turn it into more sick. And we can make it smaller. And then click this to make it sharp. So you will see something like that. And we want this effect not to affect the whole thing, but just the middle part. So let's mask this adjustment layer, select this, and then just click something like this. So it will only affect the area that is mask. So we technically one to affect just from here. And then the bottom part will be here. So something like that. I think we need to adjust this a little bit related, or we can also play with the mosaic until maybe the size should be smaller. Now you'll see is something like this. I press V again to hide the extensive area. So now you see that we kind of have a similar effect. To make it more varied, we need to adjust the timing. So press U for this. Then now we can start to stagger the timing. So maybe by two frames. Then this one by two frames. Don't forget these two are together. I think they are. All right, Let's see. Fit. You guys can play around until you get the look that you really like. And this displacement map also you can play with many things like for example, this one, this is also looks quite interesting. Let's see. Just be careful with every time you change something, you might see this area become a bit different. So just play around until you get the result that is, looks, looking very natural. Okay, so we've got the basic setup. Now the next thing that we want to do is to stack everything to make it much more, looking much more complicated. Let's pre-cum everything. So select all of these command C and then call it head master. Then they become one. Let's duplicate this to make the stroke version of it. So this one is the composition. I will press Command D to duplicate, and then we will rename this stroke. And I will go into inside of this pre-comp. And I will add another adjustment layer. On top of this new adjustment layer, I'll add another effect called Fine edges. Fine. I just stylized find edges. So if I click here, it will give us this stoking like the outline already. So this will be our outline layer. So let's go to this pixel displacement. Go to project. This is our master calm. We will drag the stroke underneath this one and then stagger the timing a little bit. So it's a little bit slower. And then we can see the effect now. Maybe even Stoller. Yeah, now we have this very strange looking displays texts. Alright, now we want to make it even more complicated. So let's become both of these command C or C. You can name it displaced. And then let's make it smaller, scaled by 50%. And then let's put it on the corner. Yeah, I will move this to the top so we can automatically jump it to the top. So the best use this pen behind tool, the anchor point tool, and then holding command over to the corner. And then let's use this. Use this. It would jump to the top there. Let's duplicate this. And then this time I will move the anchor point to the other corner, and then I will use this one. Then it will jump there. And then let's duplicate again. And this one, I will move it down here and then use this one, bring it down the bucket one more time. Change this to the left corner, and then we use this one. So we have them on each of the corner. But now I want to rotate them and I want to rotate them on the middle. So let's put the anchor point back to the middle. And then this one, Let's rotate by 90 degrees. Maybe. Let's try this one. Let's move this to the middle as well, and then rotate my T. And then this one, move the anchor point back to the middle. Press R for rotation. Actually this might be alright. So let's check this one. Move the anchor point back to the middle, and then rotate by minus 90. So we have this and then look at that. We've got an very interesting looking, this place animation. All right, next, we will do the block effect. 12. Blobby Text: Okay, so let's do this dog tutorial. Let's see what's happening here. Let me close the rest verse. So there are a few things here. The main thing is, let me close all the layers. So if you see there are two types of texts. One is the serif and the other one is the san-serif, which is the stroke. And each of them is masked by this blob. So if I turn on this block and soloed is blocked, and you can see This is the blob that we use to mask the two texts. So if I un-solo again and I turn off this one. So now you see one mass is to show this one. And if I turn on the serif and turn off the other one, the other mass is to show just the inside. And then the rest of the things we will do to beautify the blob. So without all the effects, let me turn off this layer style on this layer. So if I turn off, we have a bevel and emboss. And we have sad thing. Without those two effect, this is just a flat mask. And with the effect it looks like this. If we turn on everything. And the last policy is the displays layer. This displays layer, if I turn it on, you can see that at the moment is all straight like this, but pay attention here. If I turn it on, it starts to round and displays the text based on this blob. So that is the last policy of this. So those are the elements. And now let's create our own tax. Going here. We go to the training, go to composition, new composition, and 1080 by then a t squared pixel. Let's make this 30 frames per seconds. Six seconds is okay. And let's call this 07 block. Let's create a white background. Actually the color doesn't matter. It's Apple you, but for simplicity, I will just use black and white. So I will right-click here new solid white color. And then I will create our texts composition. With this tool. You can write whatever you want. For my case, I will just write, let's make the first 1 first. I think the color black. Let's make it large. Then I will duplicate this Command D. Bring it down. Press apostrophe to turn on the action safe so you can see where is the center point? You can just roughly place them somewhere in the middle. If you want to centralize them, we can use the align tool. Okay, It's roughly like this. I actually want to make this a little bit a line. So I'm going to go to here and increase this a little bit. More weight to the left? A little bit. Yeah. Okay. That's roughly okay. Let's make the second tax. Let's just duplicate these two command D. Bring them up, maybe change the layer color so we can differentiate them. Turn these two off. Don't forget to save. Since these two different font, maybe let's use Times New Roman because that is very standard font. You can use any font you want as long as it looks different than the first one. And then I will change this as well. The key is to align them very closely to the previous letter. So we need to turn the previous later on and maybe we reduce the opacity. So you can see, select both of them, press T for opacity, maybe reduced to about 20. So now we can see how align the letters are. Maybe I want to space them out a little bit like this. The more aligned, the more it will look interesting. So just align them as close as possible. Alright, and then the face. Okay, that's about it and you can spend more time on it. But let's move on. I will turn back the opacity up. So I want to group them, so it's easier to move them around. Like both of them. Let's precompose them. Command Shift C. And this will be called a serif. And then let's precompose these two Command C. If C san-serif. Actually for the sake of differentiating them more, let me just turn this sans-serif ones. I may turn off this into outline. So I'll select both of them, come here and invert. Let's add a stroke, maybe one invert. And then we don't really need this color, but let's leave it white color. Maybe we need bigger stroke three. So this happened because our stroke mode is through overfill. So if we change this field of a stroke, then we will have this less dense the other one as well. We'll have a stroke already done it. So let's increase the stroke thickness maybe to about seven. Alright, let's come back here. Okay, now let's create the mask. I will create a new solid, white color. The solid that you set here will be the color of the block. So now we are creating the block. Let's just call this block. And then we will use this effect. Let's scroll down to effects and presets. We will use this effect called CC Mr. Mercury. Just double-click here. And let's solo this for a while. And let's move our timeline indicator here. By default you see this mercury is giving you this kind of crazy blobby thing, like dropping blobby thing. This effect is actually kind of a bit like a particle. So what it does is it emits bunch of dots that is merged together and they are all falling to the ground, therefore into the ground because there's a gravity here. So let's first turn to gravity up to 0. You can see that they are all now emanating outwards. If you turn this gravity to minus, it will actually float like this if I play. Yeah, but we don't want that. So we want it to be just 0. And then let's play it. And it's all emanating outwards because there is a velocity. So if you turn this velocity down to 0, everything will be just a meeting on the spot. And this is what we want for this. So now we want to spread the particles around because at the moment they are all at the center. So there are these reduced x and radius. Why we increase this? You can see that it starts to spread them around in x-axis. And if we spread like this, you can see that it's spreading y-axis. So now if we play, it will create something like this. Let's just make this two number 50. So they are equal round. And now let's see what are the things we need to adjust. Birth rate is like how many, how many dots that they emit? The woman. I think we have too many. So let's reduce the birth rate. We don't really need too much, but we need a bigger blob. So if we see something like this, yeah, Let's first increase the size. So there's a bird size and there's a death size. So we want this to be bigger. Maybe. You can play around with a number, but I'm just going to make this one. And maybe this one is 1.5. So it will birth at, at one and then it will death. Diet at 1.5. So we can see something like this. And they are kind of like a merging too much. So the control for that is in the Blob influence. At the moment they are at 100%. If I reduce this, you can see that they start to reduce the emerging. Play around with this number until you find something that you'd like. For me. Maybe let's let's try about 50. I think that's kind of okay. Let's, we can readjust this later, but let's use, let's start using these as a map. So go back here. So I want to turn off the sensory first. And you see that this block is at the moment on top of these texts. So it's blocking it, but I want to use it as a mask. So we will go into use this track matte. If I force selections, if I use alpha matte, by the time I click this, you will see that this layer is hidden and then there's two icons appearing like this. This means that now they are related. And this serif text just now is using the blob as a mask. So that one is already mask. Let's match the other one which is the sensory behind. Because at the moment, we want the san-serif to be on the opposite side. Let's duplicate this block. Actually before that, let's precompose this block because if we keep on duplicating the blob and we want if we want to change something, that means we need to change multiple times. But if we could pick compost, we just need to change the thing inside the pre-compose. So first of all, commerce if C for this block. And let's actually move all attributes into new composition, so the effect will follow. And then click Okay. So now we have a precomposition of their block. I'm going to duplicate this layer command D, put it on top of the san-serif and then use Track Matte again. Alpha matte. If we use Alpha Matte, you see it. It does the same thing like previous one, which is using the blob and then putting the text in. But what we want is the opposite. We want to put it outside. So let's change this to alpha inverted matte. And you can see that now we have two different texts with two different mask. So the next thing is to polish this blob into looking like more like a blob of water blob. Again, I will duplicate this blob command D. Turn it on. And then let's add a layer style right-click or control-click on Mac. And then there's a layer styles. These styles behaves really similar with Photoshop. So if we already know how to make glossy kind of blob, you can do your own trick. But for my case, first of all, maybe I will add Bevel and Emboss. So we have something like this. If I open this, again, you can play around with this. I think I'm just going to make it big like this. And maybe reduce the opacity of the black. There is something like this. We can play around with this again later. But I'm going to add another layer styles, right-click Layer Styles and satin. And going down here, I'll invert this and start to look more like a water. Now, I said by default it's not bad. Yeah, you can play around with this number, but I will leave it at that now. And actually I want to change the blending mode of this. Again, this is like a Photoshop as well. You can choose any bending mod1. The shortcut to go up and down is like Sift plus F minus. If I press U plus, it will go scroll through all these blending modes that we have here. You can find the best one that you like. Thing I kind of ended up with overlay. Okay, So we will add another effect. On top of this. I'm going to right-click Create New Adjustment Layer. Adjustment Layer is the empty layer that you can add effect and it will affect everything underneath it. So I will add effects called globalize. Globalize. If I double-click here, by default is giving you this insane stuff. It's actually looking pretty cool, but we don't really want this to affect everything. We just want it to affect the blob. So I need to use another blob Command D, put it on top of this adjustment layer, and then use it as an Alpha matte again. So by doing that, it will actually affect just this. And we actually want the text to be not affected by it. So I need to bring this serif. These two, remember they are linked, let's just change the color, bring them up. And now it's on top of the blob. So now if we play this, let's actually play from somewhere where the block is already appearing. Maybe here, I'm going to start my render region here. If I press B, it will bring that thing here. And I will play this course is that if the computer is heavy, you can reduce this to half. And then I will just preview until four plus ten. And it will bring the behind of the render region there. So if I render this, yeah, that's essentially it. The last remaining policing is just the displacement. You might or might not need that displacement. But if you need that, Let's Create Displacement Map layer. So right-click new adjustment layer. You can name this displacement. And then finer effect called displacement map. Display is well come out like this and then you can double-click, by default is giving you this result. So what displacement map does is if I increase this number. It will displace whatever underneath this adjustment layer to the left and to the right. But it's using some kind of map. At the moment is using itself as a map. So that's a very strange thing like this. But what we want is to use the blob to displace. So we need to change the layer. But first we need to create different kind of displacement layer. So I will actually reset this first time it offers for now, let's create a new layer, new composition that is actually using the block itself. So we have created this blob com 01 test. Now, this one, if I double-click here, this is our blob that we've been using to map things out. So first of all, I want to direct this to a composition to create an annual competition that consists of that blob. So now if we have, it will open this composition block compulsion to and you have this. First of all, how it works is like a, we'll use a gray scale image to display your image. So I want to create a solid 50% gray. So if we come here, black type of 50% will have 50% gray. 50% gray means the displacement will not read it, it will just be a neutral color. So that is our background. And actually we want the same effect here. Let me come out here and go to our blob that we already have a layer styles and copy this bevel and emboss uncertain Command C. Go in here, paste. And we have something like this, but we don't want it to be white. So we need this effect to be gray. I will add fill and use this 50% gray. We don't need the saturation 0, so we have 50% gray. Okay? So what this means, the displacement map layer will actually read the grade to be nothing. And we will use the black area here to displace our texts. So that's what we want. We want the text to be displaced a little bit, following just this contour, the black area. So let's come up to our main composition and then back to this effect, the specimen. What we need to do is to drag this. Let's actually rename this into the displacement. So bring this in safe. And we don't really need to see this displacement map. It just has to be there, but you don't want to see it. So let's hide it and then go to displacement layer. Go to Effect, turn it on and change this displacement map layer into that displays map. So now you see that our edges of this texts start to get banned little bit. If I turn it on and off, you can see the different yep. So it's using the gradient, the gradient to bend. If you increase this, you will see the effect more. See it gets more, but if you do it too much, it will go crazy like this. So just use moderately. And you can play around with these settings as you like. Let's play it. Yeah. So you learned how to create a block and how to use that block as a map, and then how to display the edges. And the next, we will do this wave defect. 13. Wave Warp: This effect is actually very easy and basis of it is the strategic tax effect that we've learned earlier. So if I go in here and you can see that the basis is actually this, this texts. And if I play this, I'm pretty sure you already know how to do this. But later we will do it again. And if you come out, there's the adjustment layer with the wave warp effect. If I turn it off, it will actually just be this wave effect that we learned earlier. As you can see, again, we use the same, the same technique, duplicating the same precomposition. And then we stagger the time a little bit and they will animate a different timing. And then on top of that, when we turn on this effect, everything will be wavy like this. Alright, let's create our own co-vector project. Go back to training composition, new composition. Let's call this 0 wave. Yeah, six seconds is okay. 1080 by 1083 grand per second. They, okay, then let's create the texts. Call this wave. As usual, you can use any words that you like and we just reduce the font size and turn it into maybe extra ball. Press the apostrophe. Apostrophe to turn on this so we know where is the center Command Shift H to show this if you haven't shared the bounding box. And then as you do all we want to centralize this anchor point. Press Y for this tool holding command or way to the middle, plus v for this default selection tool. And then we will centralize this to the middle. Yeah, actually let's make it slightly bigger. I will actually speed up this process because I think you already know it, but yeah. Okay, so we have the setup. Now let's create the wave effect. I will right-click here. Outside of everything, Right-click on the empty space. New Adjustment layer, which will affect all the layers underneath. Create a wave effect called Wave, Wave Warp. So this one, click and drag or double-click by default is already giving us this interesting effect. What you need to do is just to play around with the settings. At the moment. You can play around with all of these settings will give you different, different, look. It's pretty interesting. Some of them are a bit crazy. I'll go back to sine, sine wave. Let's make it bigger wave, wave width. As you can see when I scrapped like this. So it looks like a flag. So you can play around with the settings, maybe actually just max it out if you want even more than this number and this slider is like maxed out. You can actually drag this more than that number. But for my case, I will just use a 100. And this is for the height of the wave. Maybe we'll just do it this way. And let's see. Yeah, actually that's about it. But if you see this wave, the coupon animating, if we don't want that, we can actually turn this wave speed to 0. And then there will be no animation is just gonna be like that. So that essentially the settings for this. Alright. So you've learned about the wave warp effect. Next, we will do the Thanks follow path. 14. Text Follows Path: Let's analyze what's happening here. I will double-click this. As you can see, we use again the similar tactic, using the same precomposition and then stagger the timing. And actually here there's a scale difference, scale change. So they are gradually become bigger and bigger and bigger. Let's see what's happening inside this pre-comp. So if I double-click here, you can see this layer doing this. This is the essence of the tutorial. So if we see what's happening here, That's attacks. And inside the text, There's a mask. They're changing shape. Let's give some space here. So this is the keyframe for the mask. I start with the circle and it goes to this diamond shape. Stay for awhile. Go to triangle, stay for awhile. Goto square, stay for awhile, and then back to circle. And then the text is actually following the same circle, the same shape. And you can see, if I solo this texts, this is just a text. Underneath the texts. There's a box of white. This is actually to cover the smaller layer outside. Without this, by everything we'll be showing, we need distinct. And then the other one, if I turn off this one, this one is what the outline for the back of the text. Let's create this project. Go to training. Great composition, new composition. Let's call this 09. Texts. Follow path. Let's change the dimension to be 1080 by 108030 frames per seconds. Six seconds is okay. And then click Okay. Let's turn off this transparency so we have a black background. And first of all, let's create a text. Or you can type anything you want. I will just take a sip of my heart and then make it small. Maybe something like this. Bolt. I think maybe it's enough for now. Okay, so first of all, let's select this text and then use this pen tool. The shortcut is g I, I'll just randomly draw some shape, maybe something like this. Back to this tool. And then click on this, open the mosque upon the texts. There's a puff option, actually if we select this path. So as you can see inside of our texts at the moment, there's this shape that I drew just now. If we select this mask, it will automatically follow this path. So that is actually the only trick for this. And the next thing that you need to do is just to animate this path to anything that you want. There are some settings that you can do here, like for example, the first margin, which is defining where you want to start your animation. You can also animate this if you want, like, I think keyframe and then just animate. And then it will just make that the last margin is defining where it ends. So you can play around with this until you get what you want. But essentially that is about it. So now let's delete this mask and then make the mass as my example. So let's go to Mass, open it and then delete. Okay, let's actually use this shape. So it's a perfect circle, perfect square, something like this. Press the apostrophe to turn on the action safe area. Press V to swap back to this tool, double-click on our mask. We want to try to centralize this mass center as possible. So I'm going to zoom in here. Actually let me see whether this can work. Oh yeah, actually this line torque and work. Oh no, it's not. It's actually only aligning the text. So we will have to manually Double-click this mass again. Minority try to align this to the middle, and then that will be at the exact center. So let's make it hold Command and Shift to make it enlarged from the center. Maybe something like this for the beginning. And then let's turn our path to mask one. And then it will be like this. If y reversed like this, it will go out like that. And that is what we want. I will actually duplicate this. Actually, let's, let's make our text smaller, maybe like that. And then let's change the first margin to be somewhere here. We can change this along the way and adjust based on the text change and shape change. But for now, oh yeah, at the moment we also add this center line, so I want to change it to, let's select, select my text, change it to this, and you need to make another adjustment. Once you do that. Let's just start from here. We'll just duplicate this multiple times so we have a full circle covering Command C, something like that. Then let's adjust our font size so it can cover something like this. You can spend time to refine the design, but I think for now, I'm good with this. Let's now start animating our path. Go down here. So the keyframe, then press U. Let's go to ten frames. And then set another keyframe just so it will stop at square and got ten. Let's turn this into a circle, maybe quick shift, so we only selecting 1. And then I will press P for the Pen tool. And we want to use this Convert Vertex tool. So we can have this shape, something like this. And then I will also want to change this. And let's readjust this, press V and start to readjust until it looks like a circle. It will not be very perfect, but we can go close to circle. Okay. Let's see how it goes. Yep. And then it will stay for a while as a circle. So we copy paste. And then let's turn it back into the square v. And then we went to double-click and then rotate this holding shift. So we can rotate by 45 degrees or 90 degrees. And you can see that from circle it will change into this diamond shape. Stay for awhile, copy this paste. So stay for awhile. And then let's turn it into and to triangle. Hold, Shift and click, and then click back here. So I can get this. Maybe move it somewhere here, move this down, and then move this down. Something about that. And then select all of these and you can readjust the shape of your triangle may be like this, something like that. And then it will still stay for awhile. Command C, Command V. And then it will move back to the first keyframe, copy this, paste. And then this will be our looping point. So if I press N here and we'll close our render region, and if I play this, I will just keep on looping that. Let's turn everything into easy ease. So right-click keyframe is the ease or F9. Yeah. I can, as you can see, when we when we are in circle, for example, there's a gap here. So we need to cover this gap. Maybe actually let's make the circles smaller when it goes through the circle. So take this keyframe, hold Shift, click back, and double-click in any of the keyframe. Actually, no, it doesn't work. So holding Shift and select all the keyframes, and then double-click on one of one of the keyframes. And then you can hold Command and Shift and shrink this down maybe to here. So yeah. And then we need to copy this because if not, it will go back to this bigger circle. So copy and paste and SUB. Okay? And now this triangle is also too big. So let's grab one of them. Yeah, I think something like this. Copy this, and go here, paste it. So now we have kind of like a good shape. Yeah, so that's the text. Let's make the shape behind. But first of all, we need to centralize the anchor point because it's always a best practice to centralize things. So let's select this, go to this tool, and then hold command, and we can centralize it. Drag it to the middle while you hold Command. And plus v, Let's turn on apostrophe again to check whether they are at the center. Yep, I think they are. Okay. Let's make a shape. Actually. Let's just create a stroke. No fill. And then I will just use this pen tool and then click here. Just click one time. It doesn't really matter what you do because we want to parent the path to what we already created. So if you open this, this shape here is, there's a path. Let's pick whip this to this path. And then it will actually ignore the earlier point that we draw, and then it will follow what we have here. Let's move it down here. Okay, Let's increase the stroke width. Something like that. At the moment is not hey, center. Let's try to fix it. Click here, press V, less centralized Anchor Point, press Y, and hold Command, Center it. Then there's centralize this. So now we have the correct one. Okay? It's actually not really aligned. So maybe we need to scale this up. Go to transform, and then scale somewhere here. Yeah, okay, let's play it. Yeah, it's kind of a k. If you want to round this. Let's go to our stroke. Turn it into round cap and then round join. And then you can see that this is a bit more rounded. Okay, so we have the base, Let's pre-comp them, select both of them. Command Shift C to become. And then, okay, and then now I can press S. I can duplicate Command D and select the bottom one, scale down. Something like this. You can always go back in, if this is not to circle for you to you, you can always go back into that pre-comp and then refine the shape. But let's see here. Okay, and then I will duplicate again. And this one make it smaller. You get the point. So you just need to keep on duplicating them until you get what you want. And if I play this, you can see that it's doing that. I will speed up the process and make everything. You see in this one is looking pixelated. There is because we didn't understand yet. If I take this becomes sharp. This is like a utilizing the vector capabilities inside because they are both shape layer and there's the sun. So if we outside than on the Sun, there will always be sharp. So let's turn on all the Sun actually. So we have less sharp vector layer from time to time unit to check all your shapes. Because on some shape actually see like this, this is overlapping. Yeah, you can of course adjust. But for my case, I think the point is like, you already know the technique. Then the next thing you do is like, of course as usual, you can stagger the timing by one pixel. Take them all, and then move it here. Move them here. You can start to see the power of staggering duplicated copy of pre-comp like this. Okay, So you have learned about how to use text follow path. Next, let's do the last one. Is this slow motion. 15. Flo Motion: We are on our last effect, which is the flow motion madness. If I play this, you can see these crazy effect that is really easy to do. Let's start from the beginning, go here, and then composition, new composition. Let's call this ten. Slow motion than I did and 8030 frames per seconds, six seconds. Okay. Let's create the base tax for our motion. Okay. For the emotion. And then I will duplicate this. Bring it down. Madness. Yeah, like center, center it. Maybe make it slightly bigger. Maybe this one is maybe this one is outline. Okay. Then let's duplicate. Bring them to the middle. Okay? Let's precompose them, select all of them. Command C If sea floor tax. And then let's add an effect here. If I can presets and let's type flow. Scroll down to find a CC for motion. And if you double-click by default is not giving you anything, but if you increase, this amount, will go crazy like this. And you see they have a two things that you can move around. This is not one. If you see if I drag this, the number changed and this is the NO2. What I want to do is actually up to you, this is, this is a really flexible effect. You can actually play around with crazy stuff like this. But in my case, I actually put this in the exact center somewhere here. So the number, I think it's about 540 by 540. So there is that this one I'm not sure what it does, but let's ignore for us at the moment. And then we just want to animate this from 00 is the state where there's no effect at all. Let's create a keyframe here. Press U to open this. And then I see, So this is actually the not number two that you can also animate. If you want to have double knot, I will ignore number 2 first. So 0 at the 0 second and then at one. Let's increase this to some number, like it can go beyond 100. I think I did something like this. Yeah, let's go with that. And then at maybe it will go really fast, like within within 20 frame or within ten frames. Erase here and then it will go follow through a little bit. So I increase this a little bit. And then it will go back to initial state, copy paste, maybe here. And then copy paste, and it will stay, stay for a while. Let's close our render region and then see what happened. Yeah, something like that. Let's move out all this. Selecting them, press F9. There are a bit fast. Let's actually extend the duration. Maybe this one needs about 20 frames. And actually let's take, let's take the curve. For this keyframe. I want to stay longer. Then only it will change to pick up speed to go back. And maybe let's move this here. Next you see the flow of animation is not really nice because when you raise this, it actually slowed down. First, I want to change this keyframe, holding command or control on Windows and click it will go back to the original keyframe holding Command and click again, I will have this round keyframe. This means that it will actually follow through this keyframe. And if I play this, it will actually flow much better. So far follow to animation like this. Usually you can turn this into this round keyframe. So feel free to play around with all of this thing. Maybe if you add a second note, they will have other interesting stuff. So let's, yeah, let's add another amount number to press U. You see from here, maybe it goes like that. Then this one actually go minus. So we have two. Let's copy this. And then back to 0. Copy, paste. Select all of them, turn them into F9. Easy, Ease. Yeah. So play with this and don't forget that when you go into the pre-comp, whatever you change here, it will actually affect the look outside. So for example, let me just turn this off and we'd go out. It will actually look like that. Yeah. So many things can affect your design and just enjoy the process and play around. 16. Outro: Hey, congrats for finishing the course. I hope you have fun and thanks for your patients. If you make any cool stuff, please tag me on Instagram or in any other social media. Well, keep on practicing and see you next time. Bye.