Logo Animation: Bringing Mascots to Life with Adobe After Effects

1. Class Introduction: Vast landscape of branding, mascots stand as enduring symbols. Dink male chap, KFC, or the iconic fingos figure. They carry not just brand identity, but a certain timeless recognition. Animating a mascot is an important skill. It adds a dynamic dimension to the brand storytelling. They bring a brand's personality to life, making it more relatable and memorable. Hi. I'm Mina the CEO and founder of Cash. I have seven years of experience, and I have collaborated with brands such as Nissan, Yeo, and ns. As a mentor and coach, my community has grown to over 60,000 individuals. Mastering the art of animating mascots is an invaluable skill in the realm of branding and marketing. I'm here to teach you how to create a mascot log animation in Afterft. This mascot log animation class caters to begin our motion designers, looking to enhance their afterfat skills, and master the creation of stunning log animations for potential client projects. Whether you're designer, looking to animate your work, a beginner motion designer or maybe a marketer. This course is for you. Throughout this class, I'll guide you to creating this lab animation in Afterfat. Here's an overview of what we'll cover, generating ideas for log animation, preparing your logo for animation, animation techniques, navigating after effects, and adopt illustrator, working with key frames, manipulating shapes, ensuring smooth animations, exporting the final product. I'll delve into the ideation stage revealing the tought process behind it. By the end of this class, you will confidently create similar animations. These techniques will empower you to generate ideas and craft your log animation, utilizing the knowledge shared here. Project files will be provided along the way for your independent practice. I'm trill to embark on this learning journey with you, so let's dive. 2. Class Project and Orientation : Hey, there, future animators. I'm Nina and I'm here to teach you something. Pretty cool. Mascot log animation. Now, the fun part, your job. You're going to recreate this awesome mascot logo in After facts. You get all the files to play with after each lesson. If you're new to this, just copy what I do. At the end of each class, download my files, copy my moves, and don't stress about making everything perfect. It's like learning how to ride a bike. The more you do it, the easier it gets. My tip for you is to follow what I do in the course and try to create it yourself without looking at the files. That way you memorize the techniques faster. Quick as up for this journey, make sure you have After facts and goo Illustrator on your computer. Make sure they're newer than 2022. Once you're ready, post your work in the project gallery so I can review and give you feedback. Our mascot hero is a logo made by my friend Martin from Yes I'm a designer. He made it for his students, and now we're going to bring it to life. All right, team, let's dive into this animation venture together. Excited to get started. Let's make some animation magic happen. 3. Preparing your files for Animation: Hello, guys, and welcome. So before we get the animation started. The first step is to prepare the files for animation. This is the file that I got from Martin, and the first thing for us would be to separate it on different layers and organize it in a way that would be way easier for us to animate later on after effects. This is the full file that I got. So as you can see, we have ODs versions, ODs different elements. But I will be using this version. So I'm just going to click Control C to select it, and then I'm going to click Control. And my composition would be, let's say, I'm going to change this two pixels, $1,000 to $1,000. And create. So this is my new file, and I'm going to click control fee to pay st and let me scale it up so I can see it. Okay, so here we go. This is not so important because after that, we will be importing this into after fax so we can make any adjustments later on. But these are my layers. And as you can see, here I have two layers. This is the first one and this is the other one. So the text and the ma. However, I will need to separate more of these layers because the thing is that, here's the logic. Whatever elements you're going to be moving, needs to be on a separate layer. In our case, we'll be moving the bell, we'll be moving even like this element, we'll be moving you know, the neck, the head, everything. So let me select this layer and I'm going to click on this Hamburger menu over here and click release two layers sequence. Now, I can select these two layers and dragon drop them here. Uh, the reason why I'm doing this is because I want this group to be on separate layers, and I don't want to see a group. And I'm going to delete the empty layer. And now let's start with the text because that's easy. Let me just open up these layers. As you can see here, I have in the group itself, I have all the letters on a separate layer. Actually, for now I'm going to keep them as they are. I might need to precompose them later in after effects. But for now, I'm just going to have a separate layer for all these letters. So I'm selecting the group again, release two layers sequence, and I'm going to select all of these and drag and drop them here above, and let's delete this little layer here. Now it's time To separate the layers of the ama. Again, I'm going to open up this group, open up the Llama. As you can see here, what Martin did was to create two groups. First, we have the bell, and then we have the head. And same here, I'm just going to release two sequence, strong and drop it here and delete this element. Now, let's start with the bell. I'm opening up the precomposition again, and going to do the same thing. And now, let's see what we have here. So first, we have the bell. Then we have the color. Yes, then we have this little line that connects the color to the bell, and then we have this little element that's part of the bell. Amazing. So all these things would still need to be on a separate layer because if you look at the original animation, this element is involving the bell. This element as well, as you can see, has a separate motion. Then the color has its own motion, and then this line that connects the color to the bell has a separate motion too. So that's why we need all these things on a separate layer because if we have the bell and the element on the same layer, I won't be able to move the elements separately unless I create another shape layer, and this is just way too complex. So going back to the illustrator, let's do the same thing. I actually already did it, so let me select these, bring them up. Here again, let's delete this. Now, I'm going to open up the heads. Let's see what we have here. So we have the mouth, we have the eyes, we have the head, the neck, the hair, the horns. These are the force. These are the ears. So I might need to do some adjustments here. So again, let me select all these. I'm going to bring them up here. And as you can see, doesn't work. The reason why it doesn't work, these are a group. So I just have to release two layers sequence as I did before. So I'm going to drag and drop them here and delete this one. Now, let's move forward with the mouth. So as you can see here, we have the mouth. So the mouth consists of this element that's part of, you know, the shape of the head, we have the nose, and then we have the tongue as well. So let me open up the mouth again, and I am going to again release two layers and select ODs and bring them up here and delete this one. Great. So now we also have to separate the eyes and the lashes, although later on we'll be creating a different shape in after facts directly, and I'm going to show you why in the next episodes. So, let me just do the same thing here, delete this layer. Then I am going to do the same thing here. Okay, delete this part D are de lashes, this is the eye, and the pupil is here too. Now, I have all these elements on separate layers. And the next thing that I want to do would be to name these layers. The reason why I'm doing this is because if I put them into after facts the way they are now, I'll just be able to see a bunch of weird names like shape one shape two, and I won't be able to understand what's what. So that's why it's way easier to just name them in illustrator directly. So I'm basically going to be clicking two times on each layer, and I am going to being the name. So this is A. This is. This is a. Great. Now we have all these layers separated. Let's save this file by clicking. File, Save A, and I am just going to find my folder, and I am going to name this a file. Great. Okay, click Okay. Here. Now let's open after effects. And here in your product Patel right click Import File, and just find your file. Here is mine. Okay, so maile this is. Now, something very important here that I want to point out. When you click on the file, it's very important to check this box over here that says Import as. Click on this and click composition retain layer sizes. The reason is because if you don't do that, it will be imported as the footage. So let me show you what will happen if you don't import it like that. First of all, it's just a one file. You don't see any of the layers. If I drag and drop it here, it's just one file. So that's why we don't want to do that. So again, let's import it. Let's find it. Yes. Okay. So now, import as composition retain layer sizes, and import. When you do that, you see a composition, you see all your layers here, and you'll be able to make adjustments and create your Awesome animation. 4. Organizing your After Effects project: Okay. Now, we have all these layers that we created in Illustrator. We have them into After facts. Just organize these layers a little bit before we get the actual animation started. So we have everything in After facts be completely organized and ready for animation. Okay. The first thing would be for me to select all these files. I'm going to click on this icon over here because I want to make sure they are high quality even if I scale them up. This is what happens if I don't have this clicked. Okay. So now let's select all the layers. That are for the Lama tax. Right click precos and I'm going to name this Lama and click the second again. I'm going to select all these layers for drama, and again, precomposed them drama. Click on this thing over here again. Now, I want to keep the bell and the element in my main composition. The color and this element would be on a separate layer again. So precompose that and name that color Awesome click on the Sycon here. And now it's time to select all the layers of the Lama itself. Yeah, without drama, so let me just hide them so I can make sure. Great. Okay, so right click precomposed ck. And click on the scon or here. Awesome, guys. So now we are ready to get this animation started. We have all the files organized into After facts. In the next episode, we'll start animating this character, starting with the bow, and I'm super excited to show you the next steps. You will find the non separated file below, as well as the separated illustrator files. So if you want to practice, you can download these files and separate the layers the way I did in this tutorial. Or you can also check the separated version and you can practice importing it into after facts and organizing it. Thank you very much for time. I'm very excited for the next episode, so let's get this animation started. 5. Animating the Bell: Hello, guys, and welcome to the new lesson. Today, we are going to be starting the Lama animation, and I'm very excited. So let's get started. I'm going to click on the original animation, so I can show you what we are going to create today. So, as you can see, this animation starts with the animation of the Bow and this little element of the Bow. So let's start with that. I'm going to go back to our original file. And last time, we did some precompositions. We have Lama drama. This is the text. We have the color. We also have the head, which is actually the head, the neck and kind of the whole Lama composition. So since today, we won't be animating everything, obviously. Let's hide some of these layers, so they don't confuse us. So I'm going to hide Lama drama. I'm also going to hide the head. And I'm left with the bell and the color. Again, I would like to height the color for now, because we'll start with the animation of the bell. So as you can see, these two elements are not at the top of my composition, and I want to bring them on top just because I want them to animate first, and then I want them to cover one of the lines that we're going to be animating later. So the first thing would be to convert these two elements to shape object. So click on these two right click and then create shapes from vector layer. Then you can delete these two because we won't be meeting them. And the reason why we have these shape layers. You might be using the slain aftereffects, when possible, I'll suggest you convert layers into shape objects because let me show you the difference. If the layer is just a normal layer like this one. Obviously, you can change its scale, you can rotate it. You can animate it. You have all these properties. But when you have a shape layer instead of a vector file, you can also change the shape of it. You can do that by clicking on the layer, then contents, then group, depending on how many groups you have. In my case, I have just one, and I can manipulate this shape, which is pretty cool. And this is when you create, you can click on pad and you can change the pad this layer. So we won't be actually creating pad animation for this tutorial, but I just wanted to let you guys know because this is very important when you're working after facts. So let me now delete these. And we'll start with the animation of the bell. So first, the bell ring, I want to parent this to the bell itself. Now we parented the bell ring to the bell. I want to change the anchor point. And let me show you what this means. So as you can see right now, the anchor point of the bell is at the center of the bell. So, this means that if I rotated, for example, that'll be kind of the point from where it will be rotating. But This is not really realistic because even if I rotate it that way, it's not where it's kind of supposed to be. So I am clicking on y on my keyboard, and I'm going to bring the anchor point around here. So if I rotate it, yeah. So this makes more sense because this is where the color is, so it'll makes sense it to rotate from here. Now, let's start animating and adding some key frames. By the way, guys. When you're starting on animation, it's always best to leave it like 1 second or so like empty, just because sometimes you might want to add some extra movements or you might need to add something else later on. So I always give it 1 second to breathe before I start the movement. Next, I'm just going to open up this layer, the bell, and I'm going to add a keyframe for the position and for the rotation. Then I'm going to click U on my keyboard, so I can see only the keyframes that I'm going to be using. I'm going to select these and click F nine, so I can easy ease them. Okay, so now, this is the original position of the bell. However, it's a bit too low. So it would be weird for the animation for the bell to start here and just have like the bell. I'm going to do something different. I'm going to copy these two keyframes, and I'm going to paste them here. That'll be my reference because later on this is where the bell roots end up being, but this is after the animation after it goes up. So I'm going to select these two, right click and total hold frames. These are just for reference, I'm going to use them later on. And so now these two keyframes that I created with the 1 second mark, let's just bring this here. Okay. So we'll start from here. Then at the 1 second and ten frames. I'm going to copy and place these, and I'm going to make the bell go up. So as you can see, this is moving because these were the original key frames, but don't worry about this now. I'm going to go to about 2 seconds ten frames, and I'm going to copy these key frames. And now at a I would say 1 second and 25 frames somewhere like here. I'm just going to bring these here and I'm going to click Fn so I can easy ease them. Now, let's see how that looks. Okay, so this needs to be faster, this movement. So now that we are ready with the keyframes for the position rotation. Let's open up the graph editor. I'm going to click on position, and I'm going to click on this icon here. And now, I would like to make these keyframes slower. And the way I do that with the position. So with the rotation, I still don't have any keyframes for rotation, just the position. So for the position, I'm going to separate dimensions. So you can click on this icon here. That separates X from it position, and you can manipulate that. So says the bell is just going up. We are going to be manipulating and changing just the Y position. Let's select this key frame, and let's play with the graph a bit. Okay, this is a bit too much. So let's just smooth it like this. Now, let's adjust this one. Okay. This is again a bit too much. Okay, this way better. Okay. Let's look good. Do you see how smooth this motion is? This is what we want you to achieve. I'm just going to smooth it a bit more here. Okay. Great. Now the position key frames are ready, and let's start adding some rotation to it. So when the bell arrives here, I want to start rotating. So I'm just going to change rotation to I think 36, but we'll see. Next, because I don't want it to be rotating like all the time when it's going up, so I'm going to actually move this here. Okay. And now let's make this ring. That keyframe was 36. Let's make it -30 here. Then I'm going to copy and paste this keyframe here. Just make sure they're even now you'd like to pay attention to the timing. So for example, my previous wasn't okay, so I had to adjust it. Now, since this keyframe and this keyframe are the same, I'm just going to copy and paste it. And then I'm going to copy this one in the middle here, and it'll stop here. Okay. Let's see how that looks. Okay, so this is a bit too much. I think this is a bit too much. So I'm just going to offset this one, this one, and I'm going to delete this one. Let's see how that looks. Okay. Now this is much better. Now, I'm going to click on this icon here. What this does, it creates a motion blur. This is going to be very cool. Do you see this here? It creates like this car tree motion blur that I really love. So that's why I want you to keep it. R. Now, let's animate this ring. So we're going to repeat the same thing. We're going to click y and then bring the anchor point here. Next, I'm going to click R on my keyboard so I can bring a rotation. I'm going to add a keyframe for rotation and click F nine to ***. Now, I'm just going to move my marker where the other key frames of the bell are, but we're just going to create a few more extreme pulses. So by this time, I want this rotation to be here, just a bit more. Yes, this one, like here, this one here, they don't have to be the same. And then this one here and here, Hero so I'm going to copy and face the first keyframe. Now, I'm going to apply motion blur to this. Let's see how that looks. Okay. I think this animation looks good. I just want to offset a little bit have a bit more cartoon of an effect. Yes. Perfect. Okay. I think this looks amazing. And do you see this motion blur here? This is very cool. 6. Animating the Collar: Okay, now let's animate the color. I'm going to just unhide it. Let me open up this precomposition. The first thing that we're going to do would be to animate this layer here. And this is going to be very simple. So do you see how the bell kind of overlaps with this line with this line here at this time? So I'm just going to make sure this layer starts here. Let me hide this so you can see what I mean. Okay. So it's like, Yeah. I don't think we need animation for this because it's like pretty short. When the bell is kind of in front of this layer, just make sure it appears. Yeah. Okay, so we're ready with this line. So now let's animate this part. What I'm going to do would be to click on the pent, and I'm going to create a shape that covers this whole shape. So It doesn't have to be perfect. So click on fill, make sure you don't have a fill. And now, play with the stroke until you can click G to just the pad until you don't see the color anymore because of the shape. Yes, like this. Now I'm going to open up this shape, contents, shape one, stroke, and I'm going to change the line cup to be rod cup and the line joint to be round joint. Now I'm going to add the trim pad effect. So click on this icon here add. Ten trim paths. And now we want to animate the start and the end. I'm going to click so I can only see these. Select the keyframes F nine to Z them. Now, let me zoom in, first of all. Make sure the start is 50% and the end is 50%. Two. Now, let me go I say 3 seconds and 15 frames. We might need to adjust the timing later. Make the start zero and make the hundred. So I'm going to click N so I can lock this in my work composition. Okay, great. Now, this is a bit too slow in my opinion, so I'm just going to move these to three secons in five frames. Okay, this looks good. The only thing that bugs me is this day here. So when it starts, there's like a dot before it starts moving, and I really just want to smooth this. So let me open up again, shape, stroke, stroke quid. I'm going to add a keyframe for stroke quid, click. And I'm just going to move this keyframe here and make sure the start is zero at the start. Okay. Okay. So do you see how now there's still a dot, but it's smaller, and then it progressively moves. I actually even have to move this a bit more. Great. I love it. Now, here's what we're going to do. We're going to click on the color. Total if you don't see these options, click on total switch switches modes, or if you see a bunch of options, you can just play around with these buttons over here so you can see what I'm seeing. So now we want to click on this thing here and click on Alpha made shape layer one. So what this does is it creates a mask. So we basically only see what was inside this layer. So it just masks the layer to the other layer. And so now, this is how it looks. I think it looks good, but what we will do would be to duplicate this one more time, control D. Now, I'm going to move these here. And do you see how in the original animation. I start with this coal pink color, and then the purple appears. So I'm just actually going to directly take this color from here, go to my color, and I'm going to click on this color here. So the first layer that we created, because that would be appearing first. I'm going to in the effects panel search for the fuel effect. Apply the fuel effect and change the color to the pig. So let's see how that looks. Okay. Great. Awesome. Let's go back to our Lama. Great. 7. Llama’s Head and Face Animation: Hello, guys, and welcome to the new lesson. Last time we created this animation, so we have the Bow and the color animation. And today it's time to start animating the Lama. This is going to be very cool, so I'm very excited to show you how to do this. So I am opening up the precomposition of the head, so this is actually my Lama. The first thing that I'm going to do would be to select all these layers, right click and click Create create shapes from vector layer. So what this does is it creates shape objects for my layers. So if I want to change the path, for example, of the nose or something, I can easily do that. And that'll create a much smoother animation. So now, I have a bunch of layers here. Some of them are vector files and some of them shape objects. So I want to delete these vector files because I won't really need them. I can manually select them like this, but let me show you an easier way. I'm just going to go here and right click and then select label group. And I'll have all these layers selected, and I'm just going to delete them. Great. So now let's do some parenting. If I parent the nose to the mouth, for example. That is like the child and that is the parent. So when the parent moves, the child moves with it. So that means that I can easily, for example, parent all these stairs to the head, and when I move the head, all these stairs would move with the head. And I don't have to create a separate animation for each and every layer. That's why we always start with parenting. I'm going to first select the nose and I'm clicking the nose and I'm clicking on control. So the nose, the mouth, the tongue, should be parented to the nose stment the element here. The nose element should be parented to the head. Now, the left pup and the left lashes should be parented to the left eye, and the eye should be parented to the head. Same with the eye. So the right pupile and the right lashes should be parented to the right eye and the right eye to the head. Now, the head should be parented to the neck, the hair to the heat, and the right and the left form should be parented to the head as well. So now if you look at your layers, on the neck should be empty. All these layers should be parented to something. Great. Now, let's go back to our regional composition. So now we would like to start the am animation here. That's why I'm just going to drag this element, so this is the head. That was the composition that we just worked on, and I'm going to drag it here. So this is when this animation would start, and I'm going to me. Now, let me click on it, and let's get this animation started. The first thing that I'm going to do would be to move the neck and also the head. Now, we need to make some adjustments to the pad, but we are going to do that later. I'm going to select the neck and the head. And I'm going to click P on my keyboard so I can see the position keyframes. I'm adding two keyframes for the position for the for the neck. And since this is my last post, like, I mean, this is when it would stop. I am going to bring it right here. So I think it would take around a second, but we can adjust that later on. Now, first, let's let the neck, and let's bring it down here. Let me go back to the original one. I can see the forms kind of popping above the color. So it needs to go down a bit like this. Okay, I think this is perfect. Great. So now, in our original animation, we have first of all, the head is moving separately from the neck. So do you see how the neck goes up and the head goes up as well. It's not just the neck. So let me go back. And I am going to move the head down a bit. Like this. Okay. So now we have a little bit of pop. So I think kind of in between the two. I'm just going to copy and paste lasky frame because they want to have a reference. Then I would like this head to go up like this. Amazing. And then I want it to go down. So I'm just going to copy alas key frame again and make it go down. So there's a little bit of bounce, boom. Let's see. Okay, this is a bit too fast, and we'll need to just the keyframe. So let me select these. Going to bring them here. These here. And, something like this. I think this needs to be faster, let's see. Okay. First, let's adjust the keyframes and then we'll edit the pat of the neck because as you can see, the head is detached from the neck. So we're going to fix this in a second. So first, I'm going to select the position. Just click on this so you can select all the keyframes and click on this icon here because we want to open the graph editor. D so this is how the keyframes look now. Typically, we can separate the X from Y. But for now, I'm just going to make some minor adjustments. So I'm going to suck these handles, and I'm going to play with them a little bit. So keep in mind that just in the graph editor, there isn't really a formula for that. You just have to fill it. So sometimes you have to make them slower, you have to make them faster. The only thing is just make sure it looks consistent and it looks smooth. So for now, I'm going to just play with these settings and just see how they look like. For example, do you see how this part here is kind of a bit too slow for me. So I'm just going to drag and drop these handles a bit. So it's like I want it to be smoother, like way, way smoother. And now, for this, I'm just going to drag this left part on me. So it slows down when it goes up and then boom. So I just want to make it a bit smoother. Okay. I think this looks good. So you can take a look at my graph. You can make it similar to mind. But again, just play with the settings until you're happy with the way your animation looks. So let's fix this detachment of the neck. So I'm going to open up the neck contents, pad and I'm going to add a key frame for the pad. At the start, I'm just going to make it the way it is right now, so it'll be just the same. Then at around this time when the head goes up, I'm going to select these two dots and bring them up here. Now, when the head goes down, just mind the key frames of the other layer against these and move them here. And then here. Yeah, we can leave it the way it is, but, like, actually, let me just bring it up here. So let's see how that looks. Okay. Great. All right. Now it's time to animate the face. So in our original animation, when the Lama goes up, our ace goes up too, and we have a little bit of a parallax effect with the force and the ears swap. So let's do that. It's gonna be fun. So typically, I can also create a new object and parent all these heirs to the object. But for this animation, I'm just going to do it manually. So I'm going to select the nose, the mouth, the left eye, the right eye, the left and the right fn and also the hair. And I'm going to click P on my keyboard, so I can bring up position. Click F nine to ZEV keyframes. And let me just quickly open up my head so I can see where these keyframes are. Okay. So let me go up here. This is where I am going to need to add keyframes. So let me click on the cycle here so I can add another key frame, same here, and then same here. It's easier for me to add the keyframes first, that's just the default keyframe. And then I'm going to make adjustments from there. So let's start from the beginning. I'm actually going to start by adjusting these frames when he looks up and then we're going to go from there and adjust the And the position when he looks down to. Let's select the nose element, the mouth, the nose, and the left and the right eye. And all these elements, they need to go up, like, yes, I like this. Now, the pores need to go down. To create this cool parallax effect. And the hair needs to go down two. Now, let's open up the head contents group one, Pat. Let's add a keyframe for the part. I'm going to click so I can see only the keyframes that I have. And I'm going to bring this one here because that's my default keyframe. And now here, I just want to move these ears down a bit just so we can make it realistic. When he looks up, the ears go down with the holes. All right? Now, let me select just the nose and the mouth and move them here. Like this. He's so cute. There's a little mistake that I made because I forgot to add key framsf an settlement. So I'm just going to add a position keyframe here. Yeah. That was your original position, and I'm just going to copy and paste it here. And here. Sorry about that. It happens sometimes. All right. So this is the position when he looks up, and now let's move his face down before he looks straight at us. So now, again, the nose element, the mouth, the nose, the left, the right eye. Need to go down. Okay? Maybe the nose element can go down like this. Now, the mouth and nose. Let's move them this the force. So now it's the other way around. Like the force would go up. The hair would go up to Just a bit. So I'm clicking G, so I can adjust this dot so I can have more room to move the hair. And I'm not going to kf for the path for the hair for now because I just want to change slightly the position. All right. And now I think we have just the ears left. Okay. Now I can click G. And select the arsn he looks normal. I'm going to click. So that'll be the end of my work composition. Let's see how that looks. Okay. I think this is very cool. I would like to just adjust the forest a bit. I would like these two forts to go down a bit more. So we have a closer effect. Great. Now. Let's open up the original composition. Okay. This is very cool. I love this guy. 8. Eye and Eyelash animation: Hello, guys, and welcome to the new lesson. Last time we started animating this cool ama. And today, we're going to continue the animation. Let's start with the blink. In our reginal video, we have the Lama blinking because the head of the Lama goes up. So it would make sense for the Lama to bring in clothes it's little cute eyes before it goes down. So let's open up the composition of the head. So this is a Suma. And let's submit these elements, all of them, and click so I can see all the keyframes. Actually, I would like the blink to start kind of here. Okay. Let's first select the left eye. I'm going to open up the left eye contents, and I'm going to animate the P. So find the P at a keyframe, click again, so you can see the key frame and F nine, two ***. Now, I'm going to go one, two three frames after that. And I'm going to click G so I can start making some adjustments to D D part. And I want to make this Lama, as we already mentioned, link. So we're going to adjust the part. I'm going to bring the start and the start over there. And Yeah. You can play with D ski the important part is just to make it. Look like blinks. Okay. Like, actually, let me open up the rulers. And I'm going to create a ruler here so I can make sure they're even Maybe something like this. Let's see. And ignore the pup for now. Amazing. Now, we're going to zoom out. It will stay like this until here. So just copy the key frame, paste it here. Again one, two, three frames after that copy and paste the first key frame. It should open. Now, let's see how that looks. Okay, I think this needs to be faster needs to start maybe here. Okay, great. I think this looks good. First, actually, let me remove this grid. Then let's make some adjustments. Let's adjust these slashes. So, there's one very important thing here that I want to tell you and show you. These slashes, they're all the same. Like, I mean, you can see all these thoughts. And in order for you to animate this and to make adjustments, you need to say, for example, these dots move them. There is a little weird curve here. And this is because the way these slashes were created, I think Martin just created a path with these two. And they're not two curved lines, but it's just one element. So, in after effects, it'll be better if we recreate this, so we can have more options to play with these lashes, and this is going to be very simple. So let me show you. I'm going to click all the pan right there. And actually, I'm going to draw one more lash here. Okay. As you can see, the stroke is huge. So I'm going to make it and just make sure it's similar to the way it was, like, very similar to the original. Ash. Okay. I think this is good. Let me hide it. So I can see if it's. Now, click on the stroke cower. Click on the sinc here and I'm going to take this cower. Okay. So as you can see these edges, they're like rough and weird, and we're going to make them round it. So I'm going to open up contents, shape, stroke, and the lineup, and the line joint should be rounded. Like this. Okay. Now, this got bigger, so I'm just going to adjust the P, like this. And actually, I think the strove is a bit too heavy here. Let's try. Eight. Hi there. Yeah, pretty similar to the original one. I like it like this. Click on this. Enter, and I'm going to name that one left. Okay. Then click on the keyboard and bring the anchor point here. Now, control D to duplicate this r. So you can rotate it and rotate it like this, and we need to just adjust the path up bits. So it can look a bit more like the original. Very similar. Now, let's select the two and bring them above the like the original lash layer. To isolate them. I'm going to click on this one. This is the original d, so I can see only my new lashes. They look great. And I'm going to select them and parent them to the original lashes. And I'm going to click on this icon here and I'll hide the original lashes because I don't need them. It's I need. I just needed them to be parented to the right layer. Okay, now we can make adjustments to the PT, which is the cord. Okay. Let's open up the first lash Pat and R K frame. Same here, contents shape pat RK frame here. So these two. Click, so you can see the keyframes. Let's easy ease them. And now, this is when the eye starts blinking. And it stops blinking right there. Okay. So now we need to do the pad by clicking on the lash, then click G. Then select these two dots and bring them. Here. Same here. G. Select them. Bring them. Here. Okay. There's a little problem here. Do you see how this part of the lash looks weird because this is just not where it's supposed to be, and the I is to ten. So first, let's just double check if the position, yeah, the position is good. Okay. And now, here's what we're going to do. Open up this lash, the stroke, then taper, and then add a keyframe for the end light and the end. Now go here. And I want to isolate just the lash. Click, so we can see the keyframes and the end. Let's play with this a bit. Okay. Cool. I think this looks good. And now, I just want to ease it a bit. All right. Wow. Now, this one looks better. Okay. And now for the pad, just go down a bit and just kind of like this. Let's play with this just so you can have a little movement of the lashes. It's not so static. Okay. Select them and click F nine easase them. Now, let's see. Okay? Now, I'm going to go here. Select create three key frames again. And then here, I'm just going to copy and paste the first keyframes. Here. Okay. Okay. I might want to add one more keyframe here for the path. Let's see how that looks. I'm going to experiment now. I'm just going to select it and bring it up. There's a little bows. Let's see how that looks. Okay. Yeah. I think this one looks good. Now I'm going to repeat the same process with the add lash. Let's open it up, stroke, taper, length. You, so I can see all the key frames and go here. Got the path like this, then the like this. A bit more. Okay. The important thing is to make sure it looks consistent. Okay? Here, is going to copy and paste, here, copy and paste, and here in the middle. And the path. I'll be. Okay. Whoop. Okay. So here, I would actually like to make some adjustments to the path again. So let's make them go down cause the phase goes down and it will make sense for them to go down too. Yes. Okay. Okay, I'm going to select all these key frames with the ice swell. And I'm going to bring them up here. Because I just realized it's a bit too fast now. Let's un isolate them. Okay. And actually, D again, I want them to be faster like do. Okay. Great. 9. Pupil animation: Now, we need to just the pupil as well. So here's what we're going to do. We want to create a mask. So if we move the pupil, like maybe here or here, wherever we move it, we want it to move just inside the eye. We don't want it to go outside of the eye. So I'm just going to duplicate the left eye Control D, above the pupil and parent it to the left, like the original. So I'm going to click Enter, and I'm going to name this left eye mask. Okay. And I'm going to change its cover perple. I can make sure I can recognize this is the mask. I'm going to click, and I'm going to remove the keyframes for the position and for the part as well. Because here's what I'm going to do. I'm going to open up this mask. I'm going to open up the original layer. And I am going to hold this swirl icon and parent the pot of the mask to the part of the original layer. Here's why I'm doing this. Now. If I just kept the pad options like this. And then I want to say, for example, here in 2 seconds mark, I decide to change the part of the original. Now, what I had to do was to just keep copying and pasting keyframes to the mask as well because otherwise, I mean, the mask won't have key frames. And so that's why I prefer to just keep this layer without any key frames and just parent everything to the original layer. Now that my mask is parented to the original. If I want to make adjustments, for example, here to the path of the original, my path of the mask would change with the path of the original. So no, we're going to mask it. So as I just mentioned, the mask is already parented to everything, so everything is good. Now, let's if you don't see these options here, you might want to total switch the modes. Just click here. Yep. And so here, you can just click on, click on the left pupil and click AlpMate to left mask. Alphate Amazing. Now, if I want to move the pup, for example, as you can see, it doesn't go outside of the y. And this is what I was explaining earlier. If I change notice that I'm changing the original pad, the mask is changing its path two. So I don't have to ch keyframes here, keyframes there, and just lose my time. So's delete. Okay. Amazing. No. Great. Very good, guys. Four, we animate the pupils because we're going to animate them two, but I want to make sure I move them out, like I move the left one with the with the right one. So I'm going to just repeat this same process with the right eye. But I'm going to show you a little trick. I'm actually not going to do all these things again. That's what I'm going to do. Gonna set everything like this is the new mask. To the lash and control D. This is I'm going to duplicate them. I'm going to change their color to blue blue because everything else is blue, yellow. And I'm going to rename them first. So click. Enter and rename them. That should be right. We're going to speed this for up, but essentially I'm just renaming all these s. Amazing. Since all the layers are connected to the right eye. This is the new right not the original one. I'm going to click S to click on the second here, and I'm going to change this to -100 200%. Now, click fcc all the keyframes. It's important to make sure your pointer is where you have a position keyframe. Now, I'm just going to click on the position. So that way, I'm selecting all the keyframes. Not just one. This is very important because if I move it from here, that would change just this keyframe. And I want to make sure I move everything. So I'm going to click on the position so I can select all these keyframes. And I'm going to hold shift so I can make sure it's proportionate. And Great. I'm going to move it here. Let me just see how that looks. Good. Now, let me actually hide the original or my lashes. Okay. My lashes didn't move, so I need to change them again. Just parent the slash to this slash and just do the same thing. I told you they were connected to the eye. Apparently, that's not the case. Okay. Great. Amazing. Great. Okay. I hope you like this little. It will save you a bunch of time. Now, actually, I'm going to delete all these original layers of the right right pupil and the lashes, because I don't need them. Now, let's animate the pupils a bit. I'm going to take the right pupil and the left one. Click P. I can bring up position. And I just want them to look up like go here and this one. I'll say here. Make sure it's not too extreme because it would look weird. Okay. Okay. And now, it will be best for them to move right before the eyes open. So I'm adding a keyframe again. And yeah, I would say here, make them go down. Yeah. And then here, two more keyframes. And. Great. I'm actually going to move these bits here. But keep in mind, guys, when you're animating yes, the animation of the ice needs to be really fast. Otherwise, it looks weird. Like if I, for example, make these key frames like loder like let's see here, it looks weird, you don't move your yep like super slow. So at least for me, the way I animate is, I just make them faster. And there can be a little movement like secondary movement of the eye So it's like. Yeah. You can barely see it, but there is, like, something that kind of makes it a bit more looks a bit more natural. Izing. Okay, great. 10. Hair Animation and Polishing Details: Now, let's meet the hair. So I'm just going to click on this icon, so I can I can change my background to black, so I can see what I'm doing. I'm going to select the hair and open it up. Contents, group one part. A key frame for the part. Click, you can see all the keyframes. Easy easier. Now. When he looks up, I would like to move it like this. Let's see. Tc. Let me see. Okay. And now, I'm just a copy and paste the last key frame from here. And when he goes down, I'd say, here. I want this to change position. There will be a little bounce and don't mind my bad design for now. I'm going to fix it. Yes. Then at the end. But actually, a couple of frames after the last key frames. I'm going to copy and paste the first position. But then I want to add one more like here, like a couple of frames before the end keyframe for everything. I'm going to select these and I'm just going to make it go backwards because I want it to be like, Because remember, this is hair. So it needs to look more organic. So Okay. Okay. Now, I think this one. We need to just it a bit. I don't like it. So Yes, but, like, Yeah. And again, same with the graph. Like here. You can play around with this until you're happy with the way your animation looks. This looks very cool. It's so cute. Okay. I think there is just one thing that bugs me, and I have to find it. Where's that frame, but. Yeah, like this one. I think it's cool, but the shape is a bit weird, so I'm going to click G, and just a bit. Maybe it's a bit too extreme. Yeah, this better. Okay, great. Very cute. Great. And yeah, I was saying that same here, you can play around with the settings, play around with the shapes and the pad until you're happy, and until you make sure it looks consistent and cool. Okay. The am animation looks very good so far. We need to make just a few more things. First, let's select all these s. Click, so you can see only the key frames. And I'm going to select everything from the nose to basically everything except for the head and the neck. What we're going to do now would be to offset these keyframes, just a bit like I say, two tree frames, and we're going to see how that looks. Okay. So do you see the difference? There is a little bit more kind of flow to it, so it's not like they all move together. So, that's when there's a little bit of bus and especially with the hair, it looks way more smooth. So yeah, I think this one looks good, actually. Yeah. The only thing that bugs me here is the eye animation of the pupils, but I'm gonna keep it for now 'cause we're going to be animating the eye as well. Now, let's open up the original composition. Yep. Amazing. So the bell, the color, and the ama comes here. The last thing that we're going to do would be to create a mask. So I'm going to go here, right where this animation starts. Got to click on the pencil here, and I'm going to draw a mask like a big mask. That is. And don't worry about this. Like that will be behind the color and you won't be able to see it anyway. So yeah. So like like a big mask. Just a random shape. Great. Now, there is just a stroke. There's no fill. So I'm going to click on fill. Just a random cover. This doesn't matter. I'm going to remove the stroke. And I'm going to enter. I'm going to name this Lama mask. Bring it above the Lama or the head. Of med. All right. So let's see how that looks. Do you see how you don't see the ama anymore. Like, you just see it when it crosses the color. This is how the whole thing looks so far. S. Thank you, everyone for your time. I hope you enjoyed this lesson. The project files will be low as always, and I'm excited to seeing the next lesson. 11. Smoothing the llama animation: Hello, guys, and welcome to the new lesson. This is the animation that we created last time, and this is where we stopped. So today we are continuing with this awesome animation. So before we continue with the text animation, which is actually the next step, I would like to make some adjustments to the character. So there are some things that I'm looking at it now. I would improve and I'm not really happy about. Let's just do that first. Okay. The first thing that I'm noticing is this movement here. So I feel like the head when it goes down, let me just quickly fry my hair. When the head goes down, I just think it's a bit too much. We can smooth this a bit and make it. I would say here. Okay. Let's see how that looks. Okay. I think this looks better. I would like to open the graph editor and make some adjustments here. I don't think this is smooth enough. Yeah. Maybe. And again, same as in the previous tutorials, play around ties keyframes and settings until you're happy with the smoothness of your animation. Too much. Yep. Okay, when to click on this icon here, Okay. And the only thing is that I would like this one. I'm just going to click Control and click two times on this keyframe, and I want to smooth this. Okay, well, I think this looks way better. The other thing that I noticed, remember that last time we changed the path so we can change the position of the ears. So I forgot to add one more keyframe that should be here. So at the end, when the Lama is looking at us, the ears should be normal. So Okay, this is how it looks now. The other thing is that and I know we animated that last time, but I don't really like the movement of these pupils that go down and then go up. Looking at it now, I don't think this is beneficial. So I'm directly going to I'm just going to close the tree, and I'm going to remove all these key frames. Remove all these key frames, and I'm here, I'm just going to copy and paste the first key frame. So let me see how that looks. Okay. I think this looks better. Okay, let's go back to the original Animation. Do Okay. So with these changes, I think the ma looks way better. In my opinion, we just tweaked a few things, but to me, it's just the way smoother the way it looks right now. 12. Text animation: Okay. Now let's continue with the text animation. Going back to the original one, I can see this animation of the Lama drama. Okay. Now it's time to go back here. Let me it Lama and drama. So for this text animation, what we are going to do will be to add key frames for the position, scale, and rotation. So let me open up Lama first. Position, scale rotation. To see all the keyframes, as them with F nine, and that will be our final position. So that's where it should land. Now, let's see the timing first. Okay, so drops. And then the Lama stops its movement here. So the text of the Lama, I think should start here. Okay. Start here and then here and we can change the timing layer. Now, actually, the first step is to change the anchor point. Do you see where the Achor point is right now? So if I move it, look at this, it just looks really, really weird. So the anchor point is here as you mentioned. Now, since we want this tax to appear from here and there will be a mask here. Typically, we can make the anchor point here. However, if we do that, we have to make a bunch of key frames, like for rotation, make it, start here, change the graph and all of that stuff. Okay, so I'm going to do something different. For the anchor point, first of all, I just removed all the key frames because if we have a keyframe for the position and we change the anchor point, look, it creates another anchor point for the position. So let's just remove all the key frames for now. So, I am going to move the anchor point here this time, and I'm going to show you why in a second. This is my anchor point now. Now, let's add some rotation to see what's going on. DC. So actually, this is the exact rotation that we want for this animation. So that's why we have the anchor point being here this time, and I think this is the perfect anchor point for this element. So again, let's add scale position scale and rotation, although we'll probably just use the scale, but still let's add the other key frames in case we need to change something. I'm going to bring them here and we'll check the timing later. Now, Let's play with this rotation. Right here, position. Let's see how that looks. Amazing. So I think this looks good. I'm going to just open up the graph editor for rotation. Let's just describe a bit. So, this is a bit too much now. T. T. I love this. No. Do you see this motion fact right here? This motion effect. Here's how we can do that. If you don't see these options here, just make sure you click on total switch mot. I'm going to click this icon here and I'm going to click on this icon. Now I have this motion. I think it looks amazing. Let's add the mask now. I'm going to click on the pen and I'm going to draw a mask. Basically, just to cover this right part like this. I'm going to bring it above the ama. Again, total switch these options and Alpha inverted mate. Okay. Great. Okay. Now I don't see the Lama. Here, I just see it after it crosses the bow. Let's just do the same thing for drama. I am going to change the anchor point to here. Let me test it with rotation. Okay. I think this is good. Now, keyframe for rotation, P position as scale, see the key frames. F nine is them, and I'm going to bring it up here. Okay. Now, I'm going to change the rotation like this, and let's see how that looks. Okay, great. Okay. I think this looks good. I am going to just once again, change the graph. Let me see. Okay. I think this will occur again and click this, click this. Click on this icon, so you hide the mask. So I can save time. This time, I'm going to duplicate that mask, bring it up the drama. But this time, click on Alpha Alpha verte. Basically, what that would do would be to show the drama only in this shape, not the other way around as we had it before. Let me just the mask. The drama. Enter mass ama. Okay. Now, I just select these four, and I'm going to make sure they start here. I typically want to keep my compositions organized. That's why I took that. Now let's offset these two. T. Okay. Let's see the whole thing from here. T. Okay. I think Lama needs to appear sooner. So. Okay. Okay. Amazing. Now we have the text. And the last thing that we're going to do next time will be to animate the Lama one more time where he will be looking at the text, and then he will disappear. I hope you enjoyed this lesson. Thank you very much for your time, and I'm going to see you very soon. 13. Llama looking down Animation: Hello, guys, and welcome to the new Lesson. This is the animation we created last time. We focused on improving the character and creating this text animation. And now it's time to animate the Lama. So, in our original animation, we have the Lama looking at the text, so take a look at this ship links and looks at Lama, and then a drama. So. Let's go back, and let's create this. Thanks. So. Okay, so the text appears here. It's best to have the Lama start its movement here. So it's more realistic. I mean, it'll be weird if the Lama looks at the text before the text appears. So I would say this is a good starting point. So let's open up bull Lama composition. Like this. And again, as always, let's add keyframes for everything. As you know, I love adding keyframes for every new movement. So I don't mess something up. And if I do, I always have a backup plan. I'm going to click B, so I can have my preview work area start here. And now, first, let's make this Lama blake. And as you know, we already had this animation. The Lama was blaking before. So, in my case, that's from Layer five. Two tier 14. Yeah. Let's click on the second so I can change the background and see it more clearly. I'm going to click, so I can see the key frames and okay, do you see what happened here? We don't have key frames here. So let's add them. And what else? This is just the mask, so that mask was printed. Now, this is the blink animation. All right. I'm going to start with the eye. The eye blinking is here. So I'm going to copy and paste these here. Same here for the lash. Same here. And I'm going to go up. That's now for the other eye. Copy paste. The pups leave that for now. Let's just have the labo blink first and then we'll decide. What we'll do with the pups. Okay. Okay. So now, let's add more key frames because I mean, we just this time, we want you to blink not have its eyes closed. So. And now go around here. I'll say like two frames after and just copy and paste these key frames. This is the pupil, I'm going to leave it for now. Copy paste and copy paste. Let's see how that looks now. Okay. The best thing for the pupils is to move when the eyes are closed. So that way, when the ama opens its eyes, you'll already be looking left. So we already have a position key frame. I'm going to move it here, move this one here. And then by this time, actually, let me just first see where this position should be. So I'm going to adjust the position like here and here. Yeah, this looks good. Now, select this keyframe for the right pupil and the left pupil and just move it here. And let's see how that looks. Okay. I can kind of see the movement, and I don't really like that. So I'm going to select these two. Right click. Total hold key phrase. Same here. So basically what that does is instead of having a movement, do you see there is no movement? There's just position A, position B. Okay? So let's see how that looks. Okay. I'm actually going to select these two and move them here. Yeah. So basically, they change exactly here. Okay. Okay. All right. Let's go back. Okay. And now, the am would be looking at drama here. So that would be super simple. We're just going to be changing the pupils. And again, with the hold key frame, just one position, position A, position B, not a movement because otherwise, I think it'll look weird. So, this pupiil would go. Here, This one. Let me see. Yeah, I think this is good. Let's see. Do. Okay. Let's go. Okay. Like I'm going to select the mask and the drama and just move it to the right here. Okay? Ten Great. A, cause I think this part is ready. It's looking pretty good. Great. Thank you so much for your time. I really hope you enjoyed this lesson, and I'm going to see you very soon with a new and exciting comp. 14. Llama Tongue animation: Today, we will be creating the animation from here. So that'll be the end of this logo animation. Let's get started. Let's see. First, we have like the Lama looking left. He's looking right. And I'll say here. He's going to start his movement of the tongue. Let's open up the Lama precomposition and as always, Akers for every thing. Okay. Now we are going to want to make his head go up. Let's go back to your original animation. Let's see. The head goes up. The face goes up slightly. So it's not a huge movement, but slightly. You see how it goes, right? Let's go back. Let's start adding key frames. I think it should be around 4 seconds, five frames, but let's adjust the timing later. The head would go up like this. Let this is slow. Let's adjust it. Okay. Now it's time to move the face layers. First, I'm going to select the left eye. The right eye. The nose, mouth, the nose element, the mouth, and the s. I'm going to move them up. Like this. Now, the hair would go down slightly. The horns, go down slightly too. And let's see how that looks. Okay. I really like it. Let me click this icon so I can make the back rut black. I am going to fight my head layer, and let's adjust the path. I'm clicking G. Slip this dot. Let's select all of these and make the ears go bound all bit. Let's see how that works. First of all, I think this is a pit you pass. I'm going to select all these keyframes and move them to the right. Like I'll say here. 3 seconds, 20 firs Okay. And I'm going to make them faster. Let me select all of them. And, faster like this. Okay. This is. Now, let's make him blink. And we already have this animation, if you remember from last time. This is the animation of him blinking. Let's start copying pasting keyframes. But for the eyes, keep in mind, we're just going to be pasting the path key frame, not the position. Because you already have a position. Copy key frame. Same here, let's move the lashes. Same here, the copying paste de Copan paste three coping base that. Coping base. That. Okay. Okay. This is red cook. The only thing that I'm noticing is that I want the face layers to go down a bit more. So I'm selecting the Let me see. Left eye, right eye. Nose element. Mouth nose. Make them go up a bit more. The horse can go down a bit more chew and the hire this. And let me select actually the nose in the mouth and make them go up a bit more like this. Okay. Let's see the whole movement now. ****. This is cool. I love it. Now, let's add the animation of the tongue. As you can see, our tongue is hidden now, so let me unhide it. Okay. Now, I would like this tum to appear during the animation of the mouth. And this is parented to the new element. I would like to parent it to the mouth instead because the mouth is moving separately from the element. And now, I'm going to click P, and other key frame forord position for the tongue. That would be the last position of the tongue. So move it here. And the first will be here. Okay. Now, make the tongue element, start here, and now it's time to create a mask. Click on the Pancho and just throw a mask. Like this. T. I'm going to hide it so I can see what I'm creating. This is my mask. I'm going to click on this one, so I can see it, enter and I'm going to name this mask tongue. Parented to the mouth. Bring it above the tongue, and if you don't see this option again, click Total switches moles. Now, click on this and click on Alpha Mate mask tongue. Okay. Okay. Okay, this is looking very good. Let's see the whole thing. Up until this point. Great. Okay. See the monk. Okay, this is cute. 15. Llama Loop out: Thing that we're going to do would be to just look the animation basically and have the Llama disappear go down. Let's see the original video. Okay. So from here, the lama goes up, similar to what we had at the start and then down. Okay. Let's go back. Here. Okay. And the mask, actually, just to keep things organized. Just make it start here. Okay. Let's see the timing now. Okay. T. Great. And now I think I'm going to start the animations here to roll the five second mark. Again, I k for everything. The left corn tube. And now let's start. First, let's make the head go up. Like this, I would say, the neck. We already have a keyframe for the path. So just change it like this. I'm going to keep all the other elements the same because he's already looking up. So I don't need to add any additional movement here. So let's just add a keyframe for everything. Let me see that. And now he'll be opening his eyes while he goes down and the face would go down too. I'll say around this time. Yeah, we can fix it la I'm just going to go here, and I'm going to copy the first key frames because I don't need to now go back and forth and look at where that needed to be because I mean, we already have that. Okay. So just copy and paste basically the first key frames for the hair, the right horn, the left horn. And now, I'm just going to manually do the rest. So It's like the left eye, the right eye. No. Nose element, mouth nose. Now, all of these elements would go down. The part of the head because of the ears, remember. The part of the head needs to be said. Just make sure it's the original position. And let me see everything so far because we need to animate the tongue and make him open his eye. So Okay, so add around this time. Okay. Actually, I'd like to make the face elements go down even more so I can have a more cartoon effect, basically. So again, left eye, right eye. Nose element mold nose. And just create a more extreme position. Although you can see it, you see the movement. Now, same with these two. The horse can go up a bit more. And I think let me switch to the back. Okay. Amazing. Okay. Let me see that. Okay, great. Now, let's make him open his eyes and move his tongue. So at around this time, like, actually, even before that, like here, I would like his tongue to go up. Okay. And he would open his eyes. I think here is a good time to open his eyes. Okay. So here he had his eyes opened. So by this time, for sure, he would have his eyes opened. So I'm going to copy and paste this pat Cope for the lash. Copree again for the other lash. Copy the path of the left eye, paste Cope. Copy, Paste. Let me see how that looks. Okay, I think it looks good, although I feel like that could be a bit slow. So let me see the whole thing now. No right, then then done. Okay, I feel like he needs to open his eyes here because I think it looks a bit weird, and the tongue should go up here. So let's go back to quickly fix this signing. First, let's see the tongue. Okay. So to from here, I'm just going to move this keyframe, basically the last keyframe. I'm just going to leave this one. Okay. Okay, great. Now, just keep a few things in mind. First of all, here are the key frames that we are going to be moving. First, we have just the path for the right eye. Move it here. These keyframes for the lash The key frames for the other lash. This path for the left eye here. Just remember, don't move the position because we move the face, right? So for the blinking, we use just the path. So that's why we're just moving the path. But for the lashes, we are moving everything because remember that the lashes are parented to the eye. That's why we didn't add any other movements to it, basically. So let me see. Okay. Let's see the whole thing. Okay. So as I suspect that this is a bit too slow. I think the limation when the Lama goes up is fine, but when he goes down, it's a bit too slow. And so now, let me just select everything like head, neck, hair, right, left. And actually, all these positions here. Move them here. Let me see the timing now. And let me see. Okay. Okay. Now say better. All right. 16. Text and collar loop out: And let's make some final adjustments, and we are red. So when the ma goes down, we would like to animate the text again to exit the screen, also the color. So let's go back here. And let's see when the ma goes. Okay. So I think at around this time, I am going to again add key phrase for position scale and rotation for the text. And at around the ninth second mark, copy and paste the first keyframes like this. So two. Okay. I think this looks good. Now, let's fix the color, like I think here, probably. Open up the color again. And now, do you remember that we had a mask that we applied the trim pass effect? So add keyframes for this first one only for this mask only because that one that was for just the pink one. Remember? So I'm just going to add one more just for the actual purple color. So around here and then here. And then I'm just going to copy and paste these keyframes. Shoot Right. Okay. Awesome. And now, do you see the pink color that's behind the purple one. Let me just select the two and make them side. So with that. All right. And the last thing would be to just animate this slide. Last time we didn't animate it. It just started right there because the bell. So now, I would like to actually animate it. I'm going to move the acre coin here. I'm going to click on S, so I can bring up scale. At a keyframe here. And then here. Actually, that would be the first thing to disappear. I think that would be better. So This is the original position is fine. And then, before the color disappears, I'm going to click on this icon. So I don't want to constrain proportions now because you see y in a second. So just click on this one and make sure the scale is 10020. Okay, I would like to have these two overlap a bit. Okay. Okay. I think this is perfect. Let me see the whole thing now. Great. And I'm going to click. That would be my favor. Ten ten. Yep. Okay. Now, I just need to move the bow. And I'm going to do it here. So this is when the color in the text disappears right here. And immediately after that, I'm going to click on the bow, click so I can see the keyframes, add keyframes, and then I run the s. It shouldn't be that fast, so copy and paste these. So your composition. Let's see that. Ten. All right. I think this bits you so. So let me select these. Ease them. Okay, I'm going to move them a bit. Now, this is too fast, let's see. Okay. Ah, so he love it. Click N soll beat the N, and I'm going to go here, and that'll be the start. Okay. Let's see this cool motion now. Okay, great. Well, we are ready. This is the animation we created together guys. I really hope you enjoyed this lesson. And I'm super excited to see your work. It's a very cool character animation combined with logo animation and text animation. So I really hope you learned a lot from this. Probably the last thing you can do, if you want, is to click or control. So you can create a solid layer. So basically a background. I'm just going to add a white background, I guess, and I'm going to bring it down here so that I can actually have some color of a background here. Great. So thank you so much for your time, guys. I really hope you enjoyed this. The project files are linked below as always. And happy animating. 17. Export Your Animation: There. So by now, you should have the finished lama animation of this coup. I reveal that we created together, super excited to see your work in the project gallery, by the way. I wanted to record this quick video to show you how you can export your work. So there are two ways you can do it. One way would be to render an after effect directly. And then the other way would be to use the media encoder ya The first way if you render it natively in After Effects, by the way, the reason why a lot of people like to use the media encodor is because you can do like it renders in the background and you can animate something else in the meantime. And it also gives you a lot more formats that you can render on. But if you're using the latest After Effects version, And this is a new thing that they added, by the way. It wasn't there before. But if you're using the new version, you can now render in h264. It wasn't like available in the previous version, so that's thank you so much, Adobe for doing this. But if you want to render natively, in after effects, I'll just recommend you just select this format. You can also play with other formats if you need it, export it any other way. For example, if you want it to be transparent, you can render PNG sequence, and then from there, click on RGB plus Alpha and then render a PNG sequence that's transparent. But if you want to use it on social media, or like anywhere online really. And you want this file not to be 5 gigabytes. What would be the case with V format or the quick time format. You might just click on the MP four format. Then you can leave the settings as it is. Now, the bit rate, well, it's better to render with a higher bit rate. For this type of animations, it's not that important, so I'm just going to click OK here. I'm going to click K. I'm going to select where I want my output to be. So, for example, here, and then I'm going to click on Render, and it will start rendering. The other option would be to again, click on your main composition, the composition, and then add to media encoder Q. From there, you should see the pop up with the media encoder launching. By the way, it sometimes takes some time to appear here. So from here, you can quickly select your format as you can see there are a lot more formats than rendering natively in After Effect. So for example, you have an animated, you have a normal J, you have GPA, PNG. For now, again, I'm going to go my settings are always because most of the animations I create are for digital use. So I'm just going to click on the MP four format. And then here I'm just going to make sure it's match sorts high bit rate. And then the output file where I want it to be. Yes. And then from there, I'm just going to click on this C, and it will render. Don't forget to let me know if you have any questions and to post your work in the project gallery. Thank you so much for. 18. Class Recap: Right, thank you so much for finishing this class. This is the last video. And I want you to take this time to thank you for really taking the time to finish this class. I really, really do hope you enjoyed it. Let's do a very quick recap of what we did together. By now, you should have the finished video. And as a quick summary, we started with the bell. We animated the bell. Then we animated the mascot, and then we created the mask. And then finally, we animated the typography. And then we created a loop out animation where the Lama. Goes down so that it creates this very, very nice loop. If there is one key takeaway here, it's working with timing. In animation, timing is very, very important, actually, it can make or break a video. So sometimes, especially when I started out, I was doing a lot of motion at the same time without keeping in mind that some animations just need time to breathe. Also, the viewer's attention needs to be directed to where you want it to go. So when you have already an idea about animating a logo, and make sure you always with an idea of how you want it to turn out. Make sure you have the right timing and play with timing so that it's not too rushed, and it's not all over the place. I really do hope you enjoyed this class. And if you did, please please please don't forget to add your work to the project gallery. It makes me so happy to see your work every single time. And I'd love to be able to provide feedback for the resources or to answer any questions you might have. I really am here to answer anything you might have as a question, and I'm available to help you out. Please also, if I have a second, I'll leave a review because this is super helpful for me as a teacher, and it encourages me to keep doing what I'm doing. So I'll appreciate it. So thank you for your time and attention and happy anime.