Logo Animation Principles for Beginners: Animating Wordmarks

1. Course Introduction: If you ask me why logo animation is important, I will tell you it's important from two perspectives. From designer perspective, it can considerably increase the chances of your logo getting approved by the client. While aesthetic logo makes sense and animated one makes more sense. [MUSIC] From a brand perspective, bringing logo to life through animation can connect more with the customer and make the logo more memorable and more engaging to their customers. Hello, everyone. My name is Adam. I'm a professional designer animator. I started working as interim with a lot of companies such as an Airline company and I have agency and Facebook. Now I'm a full time freelancer and content creator. My most recent projects I'm working on right now is a web animated series called Jenny, but that's for another story. You're here to learn about the basic principles of logo animation. In this class, you will learn about the do's and don'ts of logo animation, basically logo animations best practices. Then you will learn about the basic principles of logo animation. For this class, you will have two projects. One simple reveal and disappear animation, and another one is a more advanced characters animation of a logo type or a world map. This course is for absolute beginners in logo animation, but a knowledge or basic knowledge in Adobe After Effect is really helpful, like you know how to export projects and After Effects. For this class, you will need Adobe After Effects, of course, you will need two free scripts. The first one is the Duik Bassel, and the other one is Rift. That's it for the introduction, guys, and see you in the first lesson. 2. Class Project and Resources: Now for this class projects, we have two projects, as I said earlier. The first one is a simple logo reveal and disappear. The reason why I chose this one is to get you familiar with the key frames, with easins and with the speed graph, and this is very important, especially if you're just starting. The second project will be a more complex characters animation of a logotype. The reason why I chose this specific second project is because the techniques you will learn here can be applied to any letters, and also you can apply them to objects. Either simple objects are complex objects. What I want you to do now is go ahead and download the project from the project and resources. You will find here all you need to follow with me through the course and you will also find the final project in case you don't know what I did or you need some help I included the final project as well. So what I want you to do now is go ahead and download Duik Bassel from here. Then you go to their official websites and you just download it. Then you go to aescripts.com and you download the rift script as well. You see 29.99 here. Don't get scared. Just put 0 and then you put add to cart. Basically you just log in to the website as if you were buying something. They will send you an email with the download link and then you download it Once you have it, you may want to unzip the file, double-click here and you will find this one, the Duik Bassel.2.jsx. Extract to, and then you copy the file here. So this is the path, if you're on Windows, and this is the path folder if you're on Mac. Same thing for the rift you install it the same way. Then what you want to do before working with the scripts, you want to go to edit, preferences, scripting & expressions. Then make sure you check allow script to write files and access network. Then click "Okay", and you're good to go. My tip for finishing the project is just to take it easy. Don't stretch yourself. Just follow through with me and try to understand why we're making such decisions instead of just following blindly. So make sure you get everything ready. Make sure you open Creative Cloud and make sure you download the project and see you in the next lecture. We'll be talking about logo instructions. 3. About The Plot and Logo Restrictions: In this lecture, we'll be talking about the do's and don'ts of logo animation, and basically what I mean by that is we'll be talking about logo animations' best practices, things to keep in mind while making the animation. If it's your first time making logo animation, you may be thinking, how do I come up with the plots? A nice trick I do every time I need scenes to animate my logo is I think to myself, what the point of this company? What does it do? Let's take Indeed, for example, and try to come up with mini plots for our animation. Indeed is a free service for job seekers, and what you do there is upload your CV, search for jobs, create job alerts emails, save jobs, apply to a job directly. In order to do that, you need to have a degree or training or job experience. Now that I have brainstorm all these ideas, I can go ahead and narrow it down to a mini plot's from one to five events. We want a short and logic animation, because logo animation should not exceed at maximum, I find, eight seconds. Some people say six, others say 10, I think eight is good. For example, I can do an animation with a degree peers, then a CV, then a job plus logo reveal. Or we can do a CV, plus a magnifier, looking for a job, plus the job, plus logo reveal. As you can see, shorts and thus tell a little story about the company. With that being said, in some cases, you are only required to do a minimal animation, like a simple reveal and disappear. In that case, you don't have to worry about the plots. You only have to worry about the techniques. It all depends on what the client is asking for, that he wants a full explanatory logo animation, or you just want a simple appear and disappear, or a shape morphing to logo. That's about coming up with the plots. Now let's talk about best practices for logo animation. The first rule is that you want to keep the animation between one to six to, maximum, eight seconds. Why? Because the animation will be used on mobile apps, on websites, so you want the viewer to quickly see the logo reveal and then start exploring the website or buying product. You don't want to hold too much time of the users showing the logo reveal. Second rule, keep the animation inside the frame or the active area. It should not go outside the borders, again, because it will be used on many devices, phones, website, etc, so it has to stay within the active area. Third rule is that you should learn about who you are animating for. Learn things like who is the audience of this brand, what the mission of this brand, and also check their products so your animation is aligned with the brand's purpose and mission to avoid things like doing a logo animation with meat for a vegetarian restaurant. You get the idea, right? Fourth rule, avoid insulting jokes and black humor. Unless you are animating for yourself, no one wants you to make fun of their customers. A company can make fun of itself, but never affect customers. Fifth rule, don't interfere with the original logo design because most of the time you will be provided with graphic assets. If you have to interfere, you should at least see with the customer if it's okay. To recap everything, in this lecture we talked about coming up with a mini plot and best practices for logo animation. We said for the plots, you brainstorm everything you know about the company, then you narrow it down, and for best practices, five of them, try to keep them in mind. Next, we'll talk about the basic principles of logo animation. 4. Basic Logo Animation Principles Explained: In this lecture you will learn about the basic logo animation principles and we're going to see difference example of how these principles are applied to logos. Basically, they're the same as the 12 Disney animation principles, but these one are more focused to logo animation than characters. The first animation principle is easy in and easy outs. This is probably one of the most important aspects or principle of animation in the history of animation. Funny story actually is that when I started making animation. The first time, I wouldn't apply easy ins because I didn't know what these easy ins were for. I saw tutorials and the instructor was saying that's easy ins. will make the animation run smoothly, but I couldn't understand what they mean by smoothly. What do you mean smoothly? But apparently, I learned and easy in and ease out means acceleration and the acceleration. You can show him the speed of the animation. You either wants the animation to start fast and slow. This is easy in. Or you want the animation to start slow and end fast. This is easy outs, or you want the animation to start slow and then fast and then slow and this is easy ease. Definitely something that you should apply to all your key frames unless you are animating robots because robots they move and run speed in a linear position. For robots machine, you can go ahead and leave the key frames linear. Next is the arc animation principles. Basically, the arc principle is the visual path of an object. Instead of an object moving in a straight trajectory like robots, it will move and an arc trajectory. Imagine someone kicking a football. The football will go up and then it will go down, creating that's arc path. However, there is a rule to this principle is that the greater the speed of an object, the straighter the path will be. Imagine shooting a bullet from a gun. It won't curve unless you're in a movie wanted but the bullets will go and in a straight trajectory because it's super-fast. The next animation principle, is squash and stretch. Think about a rubber ball. If you toss it up in the air it will stretch on its way up. Then it will squash when it's at the bottom the ground. This animation principle gives the illusion of gravity and we will be using it a lot in this class. Also, it can be applied to both complex and simple objects. But there is a rule though. If you stretch the object's height, you have to make sure to stretch the width equally, and vice versa. This makes for greater and more realistic animation. Overlapping action and follow through. This principle we will also use a lot in this logo animation class. Basically, what I mean here is that when an object moves a part of it will move and another part will follow, we call this overlapping. Then when it comes to a standstill position absolute being in motion, different parts of the object will stop at different rates. We call this a follow-through. Inertia basically means that a force is making you either move or stop. Now to explain this further, imagine you're standing on a bus and the bus is running and you're not holding to anything. If the bus stops, your body will throw itself by the force of inertia. In this case, the bus stopping. This makes sense. If it doesn't, you can just leave me a question. Next is anticipation. Anticipation is the preparatory action or poses to the main action. For example, you bend the knee before jumping. What we're doing here by using anticipation is as we prepare the viewer for what's about to happen when applied, it has the effect of making the object action more realistic. Finally, staging. Staging principle means that the main actions take place by turn with a small pauses to emphasize a specific moment. The scenes must be in order and must have the same purpose. Guiding the viewers to the final logo reveal. To recap everything in this lecture we covered the basics of logo animation, which are the easy ease, the arc principle, squash and stretch, overlapping action and follow through anticipation and finally staging. Next, we'll open after effects and set up our workspace. 5. Setting up The Workspace and General Settings: In this lecture, we'll open After Effects, and we will be covering the workspace, the composition settings, couple of settings that you need to set up, and we'll be also importing Adobe Illustrator files into After Effects. [NOISE] After you open After Effects, you want to go ahead and click on "New Project" and then "New Composition". Now let's go ahead and give a name to this composition. Logo reveal [NOISE] Attika like this. These are the settings for the new composition. Width, we have 800 pixels; height, we have 600 pixels; frame rates, 29.99 or 30 frames per second; resolution, full; and for the background, whites color; duration, eight seconds. Cool. The next thing we need to do is I'm going to double-click here. Then you want to go ahead and find the file that I told you to download from the projects and resources and open this one right here, this Adobe Illustrator file, Attika Logo. It's under Course Files, Logo reveal Attika. Import. Import kind composition, and for Footage Dimensions, layer size. We don't want to document size. Click "Okay", double-click on the Attika Logo composition, select those Control Command X. Double-click on Logo reveal Attika composition. Make sure you click here and then Control Command V, they come to this area right here, before you Control Command V. Now, the next thing we need to do here is talk about the workspace. If you go to Window workspace, you can see which one I'm working with, it's animation. Down here we have all the scripts that we're going to be needing. In case I need a script, I'm just going to go ahead and look for it here and then when I'm done, I'll just close it. One thing about scripts, I don't like using script too much. I don't like relying on script too much, but some of them are super necessary just to make the workflow much faster. Those that will avoid you doing the repetitive stuff, those I find helpful. Also in this course, I tried to keep everything without using scripts because if you just started with logo animation, you don't want to invest in expensive scripts. You want to know first if it's your thing or not. The next thing I want you to do is go to Edit, Preferences, General and then I want you to make sure to check this option Center Anchor Points in New Shaped Layers. This is super-helpful. It will avoid you a lot of trouble trying to center the anchor points manually, especially with new layers that you're going to be creating. One more thing to do here is click on those Adobe Illustrator files or Adobe Illustrator layers because now they are inside After Effects, so they are layers. Right-click, Creates, and then Create Shapes from Vector Layers. The reason why we're creating shapes from these vector layers is that with shape layers you have more parameters, more animation options. I'm going to go ahead now and delete those Adobe Illustrator layers. Just change the color of the icon on the type so we can tell them apart. The icon is on the top and the type is in the bottom. Always go ahead and save. You never know when Adobe After Effects will crash. Logo reveal [NOISE] Attika, here we go, save. Guys, that's it for this lecture. Recap highlights. In this lecture, we imported files to After Effects. We adjusted the general settings. We converted illustrator layers to shape layers for more animation options and freedom. We change the layers colors to not get confused and we saved our projects. Up next we will make our first logo animation. 6. Logo Animation-Reveal and Disappear: Now, it is time to make our first logo animation after all this talk, and we will start with the simple reveal and disappear logo animation of this logo Attika here. This is basically like any other symbol logos out there, so the technique you'll learn here, we can apply it to any symbol logo. Just to let you know guys, if what I'm about to do seems very difficult for you, that's okay. Especially if it's your first time doing a logo animation. Don't beat yourself up, don't feel frustrated, just keep pushing through, and if you feel like you cannot follow anymore, it's getting too complicated, you can just take a break, take a deep breath, and then come back and then finish it through. Because I've been through the same. The first logo animation, I follow those like there is no way I could do this. But with patience and the power of well, I was able to finish the tutorial and do the logo animation. Let's get started. Now the first thing I like to do is select both layers and then just move them a little bit to the right, like 10 frames to the right. Let's zoom into the timeline by holding Alt or Options and scrolling with the middle mouse button. Now we can see the frames. If you zoom out, you have seconds. If we zoom in, you see frames. Now let's start and animate the icon first. I'm just going to click on this solo option just to single out the icon like this. I'm going to click S to bring up the scale parameters. We will make the reveal with the scale. I'm going to click on the stopwatch to add the keyframe. Then I'm going to move the keyframe 10 frames, so 10 plus 10 is 20. Now why am I choosing 10th frame is because we are working in a composition with 30 frames a second, and 10 frame is not too fast or too slow, it's the standard. Now I'm going to scale it down to 25 percent. You're probably asking yourself about the two decisions I'm making. First, why did I move the layers 10 frames to the right, and then why am I scaling to 25 and not to zero on the scalar reveal? Now, I did move those to the right just so I can have enough whitespace to play the animation. I like it to start with whitespace, with nothing on the screen. Also very helpful when you work in a longer animation to have some space before the actual animation in case we need to adjust the layers or whatever. Now, why did I scale it down to 25 and not zero percent? The reason is simply because it's best-practice. When making a reveal with the scale parameters, it's better to show a little bit of the shape because if it's too small, it's going to look like a dots, like this. Imagine if you're scaling to many objects and they need to appear in the same time simultaneously, it's going to look like we have dust on the screen. Better have the scale between 20-30 percent to 100. I'm going to leave it 25, and next, I will go ahead and select those keyframes. Press F9, to the Ease In. What we did here is Ease Ease. Start slow then fast, then slow again. Let those again. Now let's head to the graph editor. Make sure you have these options, Show Selected Properties here. Edit Speed Graph and snapping on, zoom automatically on as well. Now, here's a pro tip to keep in mind you guys while making reveal, disappear or morphing animation is that you want those to appear or to happen at the peak of speed right here. You don't want to have any slowdowns at the beginning of these types of animation. Reveal, disappear, and morphine. You want it to happen fast, discreet and just like Floyd Mayweather jab. What I'm going to do now is just select these points or handle, and then I'm going to drag this to the left like this. As you can see right here, it's still going to take some slow down at the beginning and then speed up and then slows down by the end. It looks already better. But to make it even better, I'm going to click here, select this, click here, and then just drag this to the left as well. Now, animation will happen at the peak of speed right here. Now if we click Play, we can see that it's much better. Click here to go back to the timeline. Now what we want to do is animate the typography. Let's click here again to get out from the solo. Now we have the type here that we need to animate. You can either animate the entire thing in one word or you can animate the characters individually. To make it more interesting, I think it's better to animate the character individually. What I'm going to do now, is just close this by clicking here and then open the options for the Type Outlines. Close Transform for now, and we can open Contents. Now you see right here we have groups from 1-6. Group 1 is the last character, and Group 6 is the first character. Now what we need to do is open all these groups up like this, by clicking on this right arrow. Then look for Transform group, also open all of them. This process is a bit tedious. However, there are some scripts that allows you to do that easily, but they are quite expensive. I didn't want to include them in this course because not everyone is willing to pay $70 or $80 for the scripts if they're just starting. You can see that the A component is located in the middle. To check that out, if I move the position, you can see that it's moving from the middle. Or if I rotates, you can see it's rotating from the middle. Now select position for Group 6, select position for Group 5, select position for Group 4, 3, 2, 1. You zoom out like this. Now that you have everything selected, click on the stopwatch, there we go. Now what I'm going to do, is select this layer and click on U. I just have the keyframes that we just added. Again, I'm going to select them all and move them to the right same frames. Then click here to add a new key frame for the position, and then after you add new keyframes, you drag the position to the left. You see that I added the keyframes first and then I adjusted the position to the left. If I did adjust the position first, it wouldn't have affected all the groups but just a single group. It's a bit different to work with groups than working with layers. Let's see what we have now, zoom out. Not bad. Not bad. What I'm going to do now, select all the keyframes. Again, we need to go to the Graph Editor. You see that it looks linear. It's like a robot's moving. Let's select them. Press F9. Now let's go back. Okay, we have the curves. Now you see here it does look like there is only one curve or one line, but actually, it has all of the groups R1 on top of the other. Select them all and again, let's just make the easings. For this one, we're just going to be using a simple, easy ease end. Starts fast, ends up slow. Let's just adjust this handle. Move it to the left. Click on "Play". Fine, but I feel like I need to make the position parameter or the position animation a bit more slower. I can go ahead and move it ten frames more and make it 20 frames, like this. Here we have it. Now, what we need to do is add a mask. To add the mask, select the type layer, all of it, Control Command R to bring the guides. Click here and then I'm going to move this guide to the right like this, stop it here, just on the top of the icon, and then select the Rectangle Tool. Click on this then Tool Creates Mask and create the mask. Now, I started the mask from here to here to make it look like this type is coming from the icon. Now let's click on "Play". There we go Cool. Now that we have more keyframes, what we need to do is make the offsets. For the offsets, I want the A to appear first, so the last character to appear first, and then I want everything to follow. Now we can either do it manually by selecting the keyframes and then just moving them a little bit to the right, but it's going to take a lot of time. Thank God, there was three scripts that we can use and that I told you to download earlier. The rifts, select all the keyframes. Then right here, make sure you have the same settings as I do. For this one shifts, you don't have to worry about it, just right here under range, I have one, then stagger and then descendants, not ascendants Then click on "Display". Now you can see descendants is going to start from here, all the way up. It looks good. Looks perfect. Now let's go ahead and play the reveal. Here we go, just going to wait a little bit and at three seconds, I want to make it disappear. Just let's close the rifts because we're not going to be needing this. You can put it here if you want under the Effects panel but you don't have to. Okay, cool. Now for the Disappear, it's going to be much easier because we will only animate the type layer entirely, we will not be animating the groups. Click on "P" for position at the stopwatch, same thing for Scale. There we go. Then I'm going to move 10 frames and make the Scale disappear. This was zero this time because we want it gone for good and for the Type, we're going to move 20 frames as we did earlier for the Reveal and adjust the position like this. This is why we have the guide in here so we can see where to adjust the mask. Something like this in here. Next, we need to adjust the mask as well. Let's go back to this position. Open the type layer, look for mask, open this thing Mask 1 and then add stopwatch for Mask Path. Then move the play head towards the position stop or stops, V to select this selection tool and then hold "Shift" and drag to the right, the Mask like this and align it with the guide that we had created earlier. There we go. Now if we just play it, let's see what happens. Cool. One last thing to do is, we need to edit the easings for a smooth disappearance. So click on [inaudible] to have all the keyframes. Select those F9 to the ease end. Let's go to the speed graph. This time, we want to do the opposite. We're going to click here and make ease out. First with an ease in, now ease out. Start slow and disappear fast, like this. For both, for the mask and for the type. Now, this pinkish line is type and this orange line is the mask. It's flat but you can still adjust it. Same thing for scaling. We only have easy ease. We need to make ease outs. Drag this thing here. Start slow. The down curve means slow, the up curve means fast. Then drag this one as well because we want the disappearance to happen at the pickup speed right here. We don't want to leave any slowing down for the disappearance. Let's play this and see. Okay, cool. Now only one problem that we have is that, you can that the disappearance when it happens, the icon disappears before the type, which is not good. The type needs to disappear before the icon. One thing I do is that, when I'm making logo animation, I go ahead and adjust the keyframes and the parameters for the key-frames first, and then I check the animation and if there is anything off, I'll go ahead and adjust the keyframes. What I can do here, for example, is select the scale parameters or the scale keyframes for the icon and then just drag it to the right. Cool. Now let's see what happens. It's better. Recap highlights. In this lecture we covered adding keyframes, adding easings, adjusting the speed graph, working with scripts, and working with masks. Up next, we will make a more advanced logotype animation. 7. Animating The Position and Complex Trajectories: Now in this lecture we will start with the more advanced logo type animation. Well, we'll be animating characters, jumping, rotating, switching, and everything. This one is a bit advanced and I want you to note that there are a lot of techniques to achieve this type of animation, but I went ahead and only choose the easiest way possible to achieve this animation to keep this class beginner's friendly. Let's start first with animating the position while respecting the arc animation principle. I want you now to go ahead and open this Adobe After Effects file where you will find this logo ready to be animated. First thing first, I will do is just change the colors of these layers, so we won't get confused. Now click here, hold Shift and select the first one, and I'm just going to drag them a little bit to the right, like this. The first thing we need to do here is sets the active area. If I go ahead and right-click on my composition settings, you can see what I'm working with here. The width, heights, 1920 button ATP. We need again to do here is now sets the active area. The way to do this is we're going to go ahead and select the rectangle tool, and then I'm going to draw a rectangle like this on the top of the entire Canvas, just like this. Then I'm going to open the rectangle settings , a rectangle path. Here we go, size. You can see a size as the same as the one on the Canvas. Now to set the active area, just go ahead and dial down the size to about 400 pixels. I don't know why I have rectangle 2, I'm going to delete it. Maybe I clicked twice on rectangle. Who knows? Now we need to change this layer to a guide layers, so right-click and then look for guide layer. Here we go. Now it's a guide layer. I can put it down here and lock it. Then Layer, New, Solid, want to choose white color as the background, put it down and lock it. Then I'm going to shy those away, which means hide then. Click here, so active the shy option and here we have it. Now, we're going to start with animating the position and then we will move to path. First, let's animate the T. Click on P for position, and then we're going to move the play head to about 25 frames a second because we're going to be working with more than three keyframes. This is why I choose 25 instead of 20 frames, and I will set the final position first, so you guys can avoid looking for the final position after you make the animation. I'm going to set it at 25 because we want the T to fly and then come back to its initial position or first position, so set the final position first always you guys. Then I'm going to move the play head back around here, 20 frames or 19 and select V for the direct selection tool and then click, drag up, hold Shift to drag in a straight trajectory. Zoom in to see what happens here. Again, we should not cross the border. Then move this even back to the first frame, which is 10 frames, and then I'm going to drag it down, release the mouse, and then release shifts. Now one more thing I need to do here is because my computer is making a lot of noise is I'm going to go and dial down the resolution to about third, select all of those F9. Now, if I click on Play, [NOISE] not bad. Select everything, speed graph, and then let's go ahead and adjust the curves. The jump is impulsive, so we going to start fast at the beginning because when you jump in, you don't take slow down, just crouch and then jump and you jump at full speed. Here there is no slowing down at the beginning of a jump. Here we go. When it's dropping down, it will slow down and then drop down fast. When it's up like this, that means speed, and when you have a curved down like this, that means slow down. If I click on Play, this is much better. One more thing is that this points in the middle, this adjust the freezing when the T is up here in the skies, so you can adjust it by either bring it up or down. If we bring it up, it will freeze less time and if you bring it down, it will freeze more time at the top. You can see if I want to bring it up, I have two keyframes in here, so I need to turn them into one because we have one key frame for the in and one for the outs. This is ease in, this is ease out, so select both, double-click, and then check continuous lock, so outgoing to incoming. Now if I move it, we only have one. You just want to move it just a little bit, just a notch, stay under 5,000. Now let's click Play again. Let's change this a little bit to the left. This is much better. Maybe I would move this up a little bit more. The next one is going to be p, so p, again, same thing. Click on Position, drag it here, add a keyframe for the final position and go back, and then put it up here and then go back, and then put it down here. You can see I have snapping on. This is why you see it snap in when you see those lines. This indicates snapping. Then move the play head here, and before it reaches the final position, I want to drag this then here. A little bit here I'm going to unselect snap in for now, here we go like this, just the trajectory. Now here's what I'm going to do. I'm going to select all these keyframes, right-click Keyframe Interpolation, and then right here where you see spatial interpolation, I'm going to change it to linear just so I can get straight lines like this and I can adjust this thing properly. If you click on this and select in everything, just unselect all these keyframes and just select the one you want to move and then move it. Like this. This is better. Now I can select the pen tool, hold Alt and click right here and then adjust the curves, hold Alt. Here we go. Now we can see in this one we're applying the arc animation principles because it's going to be flying in an RF trajectory. We select this, there we go. Of course, nothing is final, we can always come back and adjust. Now we're going to do the same thing. Select all of the keyframes, press F9, go to the curves. It's going to start fast like this, and then it's going to curve here, and then slows down. When it reaches this position, I want it to slow down a bit. Then same thing here, I want it to slow down a bit. There we go, just like this. Select those, double-click, send them into one key frame or one anchor points. Now let's apply the animation. Not bad. I just want to adjust the freezing a little bit here, so select this up and same thing for the final one. I don't want it to freeze too much, bring it up like this. Click those too much lift, bring it down a bit so we go. If you bring it up and this thing changes, that means you brought it up too much. Make sure this thing doesn't change, the first curve stays the same. Bring it down. This is much better. Maybe I'll just increase this a little bit here, so we can get a nice movements from this point to this point. This is better. Now what I'm going to do is compliments the jump with the rotation, so click R on the keyboard for rotation. We wanted to store like this 90 degrees, [NOISE] sets a keyframe. Then I'm going to select this layer or click here to show the other keyframes as well, then I'm going to move it when it's freezing to the top. Then I will rotate it again like this. You can see I'm just rotating to the rights in around here. Then when it reaches the down position is going to do one final rotation to go back to its initial position, so zero. here we go. Now, F9, the essence and adjust those little bits just like this. There we go. Let's click on Play. Not spat. This one in the middle. Double-click on keyframe or one anchor points and then just move it up a little bit. This is much better. Let's freeze in up there. Let's move to the R in the green one, and same thing. P for position at the final position. Move backward and then select this one, put it up like this, then move here and then we're going to put it all the way down this one. It's going to jump from here all the way from the bottom to the top. Select this and let's just adjust the trajectory. Select all of them. Same thing, F9. The jump again is impulsive. Again to slow down is these outs. It's going to slow down a bit up here and then boom, it drops like this. Select the middle keyframe, double-click, continuous lock, and then just bring it up just a little bit. Here we go. Click on Play. Amazing. Recap highlights. In this lecture, we set the active area, we set the position keyframe, we adjusted complex paths trajectories, and we adjusted the speed graph. Up next, we will animate using the trim path and the offset path. 8. Animating Using Trim and Offset Paths: In this lecture we will try something different. We will be animating shapes using trim path and offset path, not letters. After that, we will morph the shapes with the letters. Make sure you're not selecting anything. Go to Shape, Ellipse tool, and then I'm going to draw a circle right here. Hold Shift. Release the mouse and then Shift. Select the Direct Selection tool. Then we're going to adjust this line right here in the middle. Or maybe just with the O like this. Then just drag this to the rights Now, what we want to do, you see right here we have Contents and here we have Add. I'm going to go ahead and add trim paths and add offset paths. Now, for the trim paths, I'm going to go ahead right here where it says End and dial it down. Then for the offsets path, I will increase the amounts. Then Line Join, change it to Round Join like this. Offsets, let's adjust it because we want the animation to go like this clockwise. I'm going to do this. Then just move the position of the new shape that we created by clicking on the right arrow on my keyboard. You can hold Shift and click on right arrow to move faster. I will adjust more amount of the offsets path. Maybe just a little bits of the offsets and the trim path until we have something like this. Now, let's start with the animation. I'm just going to close the offset paths because we don't need it right now. Click on the new shape that we selected. I want to change the color to red. Then dial down the End path like this until at the same shape as the O. There we go. Then adjust the offset a little bit. There we go. Because it's going to be moving like this. So I'm offseting the shape a little bit. Add a keyframe for End and add a keyframe for Start. Then we're going to move, then let's go with the end, increase it like this. Make sure it doesn't touch a tail. Then same thing for Start, we will increase it as well until we have the shape of the O. We'll put here 84. There we go. Then I'm going to set a keyframe for offsets and then move this little bit. Then offsets this back to O like this. Now if I click on Play, you can see nothing happens. But I'll just move this 10 frames so we go to 20. If I go ahead and offset those keyframes. You can see now animation. What I did is offsets the Start and End, and I have offset the first keyframe at the beginning of the animation and another one at the end of the animation. Now we can just select everything and then F9. For this one if you just use F9, easy ease, it's totally fine. It looks fine. But you can of course make it better a little bit by selecting those keyframes. Just the Start and the End. Go again to the speed editor and then just increase a little bit speed in the middle. There we go. I know it's a lot of things, a lot of information in the same time. If it's your first time doing this type of animation. But just take it easy guys. Take it easy. You can ask me questions and everything that you want. I know there's a lot of keyframes, can be confusing. This is why I have included the final projects and the project resources for you to download and you can check what I've done. Now, what we need to do is we're going to do the same thing for the O but we want the animation to not be clockwise, but to be reversed clockwise. I'm going to duplicate this layer, close the animation here. Click on U to only show the keyframes of this layer. Then let's just name them so we won't get confused. I'm going to rename this one Circle 1, and this one Circle 2. Now, if I click on U, there we go. Did we save the projects? You have to save the projects you guys. Now, what we need to do is pretty much easier. We're just going to switch the values. It starts here with one and ends with 85. We're going to switch that and we're going to do the same for the one on the top, and then we can adjust the offsets manually. Here 85 and here one. Now for the top one, the starts. It starts with zero and it ends with 84. Zero here and 84 here. Select all these keyframes like this. And then just move using the arrow on your keyboard. Hold Shift to move faster just to align it with the second or for the troops. Now, let's adjust the offsets. It starts maybe here and it ends here. I'm going to select the entire layer and move it to the right. Now let's see the first animation, and then this one. You can see the offsets for this one, it starts at the top, and the offsets for this one it starts from the bottom. Now let's just click on U to hide the keyframes. Finally for the S, we're going to try something funnier. What we'll do is I'm going to select the Pen Tool. Make sure you don't have anything selected, any layer selected. Then I'm going to click here to here, and hold and drag, hold Shifts, then hold Alt and hide this line or this curve. Then click here on S. Make sure you click in the middle then drag like this. Hold Shifts and here we go. You can do this and you can click on this line to adjust the curves like this. As you can see, working with the Pen Tool and Adobe After Effects is pretty much the same as working with the Pen Tool and Adobe Illustrator. I guess experience in graphic design can help a lot in animation if you're switching from designer to animator. Also motion design. Select the Shape Layer, rename it S Animation, and select another color for this one to Lavender is the color we selected there. Now we're going to do the same thing as we did with the o. Open this thing, add Trim Path and add Offsets Path. Let's adjust the offsets. Miter, Round Join. Then increase amounts like this until you cover the s. What we can do is select the pencil, then just adjust these points a little bit like this. Here we go. So I clicked on Direct Selection tool and then I selected the anchor points and adjusted it. Now, let's adjust the trim path. I think this p is bothering us, so I'm going to move the S animation to the right a little bit. Again, dial down the end around zero. Add keyframes for both End and Start. Move the playhead, move the End like this. Then move the Start like this until you have the o, then move again. Then move the End to the right again and then the Start to the right. Oh, that was too much. 99 here. Again, we just need to offset those so click here and here This is better. F9. This is much better, but I feel like it's too fast. So with all the keyframes selected, click on also option and then just drag to the right. This is much better. Click on U. Then we're just going to go ahead and hide the two O's and S by clicking on the eye because we don't need them right now. They confusing us. I'm going to shy those as well. That's P. That was a mistake. You shy O and O and S. Recap highlights. In this lecture we added shapes and then we animated strokes using the offset path and the trim path. Finally, we offset the keyframes to create our animation. Up next we will explore the stretching animation principle using the path parameters. 9. Exploring The Stretching Principle Using The Path Parameter: Now that we're done with animating the position, we're going to go ahead and explore these stretch animation principle and we're going to do that by using the path parameters. It's going to be tricky, but you can do it. At this point, what you want to do is duplicate the T Control Command D, change the color or the duplicated one, and then select the bottom one, U, to show the key-frame. Press J on your keyboard. Select all the key-frames, shifts, and left arrow, drag it to the left like this because we're going to use this T as the reference. There we go, U on the duplicated T, and then we want to remove the position, we want to remove these key-frames. But first, let's put it back into the final position before removing the key-frames. Cool. Now, what I'm going to do is look for path. Contents, Group, and then Path, and then add position. This is the final position we're going to add it first. Click U again, bring the playback at the beginning, then bring the T down like this, just by using the arrows on your keyboard, holding Shifts, around here. There we go, so now we have the position here for the path, and we have the position down for the path. One more thing is that select both those key-frames. Hold Alt plus Command plus right-click, so you can freeze them. That's why when we're animating the path, the T won't be moving, so it won't disturb us. I'm just going to bring this one a little bit to the right like this. Cool. Now, the first thing is we're going to move the play head to the right. Let me just zoom in a little bit to the timeline there. Here we go, we are in the timeline. Once the T starts moving, make sure you have path selected here. Select the top, like this. Now, you can see that these anchor points are selected. Then I will stretch this using again, my arrows. You can hold Shift, stretch all the way to the top. I'm going to do the same for the bottom one. Just like this. Now that we set this key-frame here, the T will stretch from its normal shape to this shape. We're not stretching using scales because it's not going to look good, it's going to look horrible if you stretch with the scales. Then move this a little bit here. Just when the T freezes up here, I'm going to go ahead and select the first key-frames that contains the original shape of the T, Control Command C, Control Command V, and then bring this all the way to the top, hold Shift like this. Now, it will stretch on its way up. Then once it's up, it will regain its original shape. Now, select the key frame that you just added, Control Command C, and then move it a little bit, Control Command V. Why we duplicated this first key-frame? So we can control the freezing up here, because we are moving the T now with the path and not with the position. You can control the freezing with one key-frame, but with the path, we need to add two key-frames to control the freezing. Then I'm going to move the play head again. Let me just adjust this key frame to the left like this. Here we go, and when the T reaches its final position like this, I'm going to go ahead, Control Command C, the last key frame, and then drag it to the right, and then Control Command V. Then once I do that, I will select the top of the T and then just stretch it up like this. Here's this thing. Once the T is up here with its original position, when it reaches down, the tail will go first, and then the top will follow. Now, if I select all of those F9, Play, you can see what I'm talking about. Guys, if this's confusing for you, I have included the final project. You can open it and check for yourself what I did with the key-frames. Now, select all of them, graph editor, and now we can adjust the key-frames in here. Speed up and then slow down a little bit. Then here, we're going to do the opposite. Once it reaches here, slow down a little bit here and then speed up a little bit here. Click on Play. The last one, I don't like it much, but I'll do this, let's see. I think it's a little bit too fast when it comes down, so I will just select all of those, hold Alt and drag them a little bit to the right, and then this one a little bit more. Let's see now. [NOISE] This is much better. I prefer this animation better. Guys, remember two things control the animation, the distance between the key-frames and speed graph. Now, that we've finished with the T, we can go ahead and hide this one, the one that we use as a reference, hide, and shy away. Next, go ahead and select the R and we're going to do the same thing. So U, we have to position, animate it. Click here, Contents, Group, Path. Then, again, we're going to add a key-frame for the path. Original shape, add a key-frame first, like this, and then move it to the top. When it reaches the top position, add another path, and then right here where it starts moving, make sure you have Path selected. Select the anchor points and stretch it from the bottom. Okay, guys, don't stretch it from the top. Select the Pen tool, click here, and then I'll just adjust this. [NOISE] Now, if we play it, [NOISE] now it's path. Right here on the position, I may go ahead and adjust a little bit the R, bring it a little bit to the top. Let me uncheck Snapping. Let's see now. Okay, cool. Now, F9. [NOISE] I love it, it looks amazing. Guys, you can see what we did here. We set the path for the original position and another path for the original position when it reaches the top and we only stretch it in the middle when it jumps in. I want to click on U to close this. Right now what we're going to do is offset everything and make sure not everything is overlapping when it comes to the animation so we can move to the next step, which is adding more life to the animation. Bring in those logo animation principles into life. I'm just going to close this and close this by clicking U on the layers, and then I'm going to bring all these babies into the same starting point, making sure everything is well aligned. We have T first and then we have R and then we need circle 1 before the P and circle 2 before the P as well, and then P, and then finally S such as the one here. Select all of them, hold Shift, click here and here, Window, and then look for Rift, and then I'm going to click here to offset. [NOISE] Cool. Now, if we play the animation. We can still make some manual adjustments. The rest will give us a hand, but then we can finalize everything manually. We have the T first and then the R that jumps right away. Not good. I want the T to reach bottom first and then the R can jump, and then once the R lands, I will bring the circle 1 after this. Select everything, all the key-frames. Zoom in and then just move a little bit, hold Alt and move a little bit to the right. You can see now. [NOISE] It's still going too fast for me, so I need to adjust a little bit more of that. This is way better. This one maybe just a little bit too. Okay, guys, you can see that I'm just eyeballing the animation. Whatever feels right for me, I'm going to leave it that way. Let's take a look one last time. That's it. We kept highlights. In this lecture, we worked with the Path parameters. We explored the freeze key-frames. We used the Rift script to offset layers and we adjusted the layer's offsets manually to get everything where we want it. Up next, we'll be adding more animation principles to our logo. 10. Follow Through and Overlapping Action: Now, in this lecture we'll be adding more animation principles. The more animation principles you add to your logo, the better and the more realistic your logo will look. So we'll be adding overlap and follow through, and again, we'll be using the path parameters because this is the most easiest way for beginners. [NOISE] This is probably the most difficult lecture in this class. A pro workflow tip I do to not get confused in all these keyframes and layers is that, I go ahead and work on a specific layer, and then when I finish everything I want to do with it, I go ahead and shy it away. This way I keep the interface clean and I don't get confused with a lot of layers and keyframes along the way. Let's go ahead now. What the T selected click on You to get the keyframes. What we want to do now is overlap the hands of the T. As it's going up, the hand will bend down, and as it's coming down, the hands will fly up. We will add two more path keyframes to the T. Now as it starts going up like this, I'm going to go ahead and zoom in to the screen, click here, and then make sure you have path selected, Path 1. Don't select this one in the bottom, it will select all the keyframes and we don't want that. Next, with the direct selection tool selected, go ahead and select this point and this point. These two points right here, Control Command T. You will have this bounding box. There was a point in the middle, you probably see it, you probably don't but here it is. Can you see the small one? Click on it and drag it to the left, like this. You can see that now the cursor changed to rotation. We will go ahead and rotate this hand down like this. Once we finish, click on Escape. Click here, hold Shift, click here, and show command T. Once you're done again, click on Escape. Now, what we need to do is adjust this a little bit more by adjusting the curves and maybe the points deforming the T-shape, and to do that, we need to select the Pen tool. This one right here. Now, if I click on this point, you can see that nothing happens. All I can do is move it up or down or stretch it. If I want to curve it, I need handles, and in order to create handles, since we don't have them here, hold Alt or Option and click on the points. Click here, click here, and then click here. You will see that we are going to lose the sharp edges to round edges but we can fix them, so select the outside parts of the handle, not the one on the inside. Hold Alt, click, and then just drag back. Alt, click, and drag back. Same thing here, select first and then Alt and drag. Now we can deform this like this, click here and adjust these curves like this. Here we go. Here we go. I can also do this. Stretch them a little bit. Cool. Now let's move this. Then once it starts coming down, so from this point to here, we will do the same thing. Basically the same procedure. I'm just going to go ahead and speed it up but this time instead of bending the hands down, we will bend them up because it's coming down. By the force of its coming down, the hand will go up. So V, for the selection tool, and then select this, Control Command T, and basically the same thing. [MUSIC] Once you're done, you can click on V, and here we have it. Select the Direct Selection Tool, select all this empty area to unselect the T, and the now, once the T which is the final keyframe, I want to go ahead and squash it, so select the layer again, and then hold Alt or Option, plus right brackets to cut from the right. Zoom into the timeline and then just adjust this a little bit. There we go. Now what I'm going to do is duplicate the T first. There we go, and then adjust this. Since we want to squash it, we need to duplicate the layers and then apply morphine. For this class, we will only talk about one type of morphine which is frame morphine, which is the one we will be applying now but on the upcoming class, I'll be introducing you to new morphines. Anyway, after you duplicate this, select the duplicated layer, you delete all the keyframes, and then I'm going to put it right here, so right above the last key of the first T just like this. Now I can add a keyframe for the path, click, "S," and then a keyframe for scale but first let's go ahead and move the anchor points. This points will determine from where the animation will start. I want the scale to start from the bottom, so I'm going to move this one to the bottom. Select this or you can just click, "Y" to select the anchor points mover tool, and then I'm going to move this one to the bottom like this and add Scale, click, "U," and then just move those to the right like 10 frames to the right. I will calculate 10 frames later. Now, what I want you to do is unlink scale and then just squash the T like this. Once we do that, we will go ahead and deform the T again using the path. Select the Path, number 1, select the Pen tool, G for the Pen tool, create them, handles, and then let's just adjust this. Once we do this, the final thing I need to do is apply some damping oscillation. Basically, damping oscillation means when you stop moving your bounce a little bit. In order to do that, we need to make sure first that the distance between the keyframes is 10 frames. [NOISE] 7 plus 10 is 17. I will move this a little bit to the right. Here we go. Now, I'm going to Window Duik Bassel. Make sure you save the project control command S selects the selection tool. Select this one, animation, and then select the two keyframes of the scale. Then we can apply this expression, Kleaner. As you can see, I didn't do any eases on these keyframes because if you applying an expression, you can't do it on keyframes that have easy ends or outs or easy ends in general. Now I will select the layer, again, deselect and select to show the effects controls and then I'm going to uncheck anticipation. If we play this, let me adjust the length of this layer. We're pretty much done with the T layer. What we can do is select both T's, click on U to hide all the keyframes, and then we can shade them away. We can move to the R. With the R, We have everything applied to it. We just need to apply some rotation and some depth and oscillation as well to give a small life, U to show all the keyframes. I'm going to click on R for now, add a rotation key. Then this is the original position of the R. I'm going to put it right here. The R is on the top, like this. When it stars at the beginning, I just want to rotate it a little bit to the right. Then when it reaches its final position, I want to rotate this a little bit to the left and then move a little bit, then apply zero rotation, original position. [NOISE] Down here for the position, this is the final position. I'm going to go ahead and Control Command C and duplicated here, then go back here, select this one, and then bring the position a little bit down by clicking on the arrows on my keyboard to give it that bounce a little bit, just one touch on the down arrow. Select both of these keyframes and we will apply expression to this as well. Select them both, hold Control or Command and remove the eases. For the rotation here, I will apply some easens. [NOISE] Then for these two keyframes, position, and the rotation, we will apply some depth and oscillation using the Kleaner. Again, I'm going to remove anticipation. We don't need it. If you play, you see that it looks much better, way nicer. Here we go, make sure that it's not going over the actual area. Then it looks nice. It looks good. Next, we'll jump to the P first, and then we will work on the OO and S. Because the workflow for the OO and S is a bit different than what we're doing right now. Again, we're done with this one, shades away. Now, let's find the P, and for the P we're going to apply some overlap and then follow through to the tail of the P. Here we have P layer selected. Click on ''U''. Once the P, which is this final position, I'm going to go ahead and open the path [NOISE] content group. Let's save this. As you can see right here, we have path one and path two. Sometimes this happens when you want to adjust the path of a letter. We have two paths and you wondering, what do I adjust the path 1 or path 2? The answer is simple. You click on path 1. You can see these anchor points. There are effects on the circle inside the P. We don't want to work on this. We want to work on the tail of the P. We select path 2. Guys, now just add a point here. Then move. Let me show the other keyframes as well. There we go and then add the same points on top of the final position keyframe. [NOISE] There we go. Now let's open the path again. Click here to unselect. Let's go back here. When it reaches the floor, I'm going to move this a little bit backwards. Now with path 2 selected, we will go ahead and do the same thing we did with the T. I'm going to select this with V, which is selection tool, select the two end coupons and the bottom in short command C. Move this up and then rotates to the right, escape G for the pencil Alts and then creates them handles. Adjust the corners. Let's adjust the curves a little bit. [NOISE] Click here. Click on Path 2 again and adjust this. There we go. Now, will move to the last points. The overlap will end here. Then we will have a follow-through after it stops, so select these anchor points and drag it to the left and this one too. Then select these anchor points and put it here. [NOISE] All of these and F9 for easy, ease. Let's click on ''Play''. Maybe we can move this a little bit to the right more. Let's click on ''Play'' again. [NOISE] If you don't like to speed up animation, you can of course adjust the distance between the keyframes to your liking. This is better. Now that we've done with the T again, you need to hide all the keyframes, and then let's shine it away. Now for the recap highlights and this lecture, we shy layers way to not get confused. We added more animation principles using the path parameters and the transform command. We added the Kleaner scrubs of Duik Bassel for some damping oscillations. We adjusted the distance between the keyframes to control the speed of our animation. Up next, we'll see how we can perform a basic frame morphine. 11. Basic Frame Morphing: Now we'll see how we can smoothly and discreetly morph shapes into letters. This is frame morphing, basically, the most easiest way of morphing. On my next class, we'll be talking more advanced morphing. Now the first thing we need to do is find the letters we want to morph because these are not letters they're just shapes. I will show all the hidden layers, and then unhide O, and then O and S, and let's hide the rest. Now, I will put the first O beneath circle number 1, second O beneath circle number 2, and the S is under S animation, which is good. Cool. Now let's start with the first O. Let's click "U" on circle number 1, and the animation stops here, and the morphing will start here. Now, I will go ahead and cut this layer here by holding Alt plus right brackets or Option plus right brackets, and just adjust this a little bit. Make sure you unhide the eye as well because this layer is still not showing, so make sure you have the eye selected. Then trim this here. Now we want to change the color of the stroke to black, and in order to do that, we can just change it from here. Select the stroke and then change to black. [NOISE] Now this will finish here and then morph to the O. Then for the O, we want to apply again some damping oscillations or elastic bouncing in other terms. First is I want to change the position of the anchor points for the animation, so Y to select the anchor points. Now look at this, it's rotating clockwise. The O will bounce up and down. With the O selected, I will move the anchor points up here, like this. V for the Selection tool, S for the scale, and then P for position. Click on "U". Select both and again move them in frames somewhere here. Let's zoom into the timeline to see what frame we are. We are on the eighth frame, so 8 plus 10 is 18, so right here. I got it right. Experience. Cool. Now, the next thing to do is unselect everything and then unlink the scale. We will squash this. See what happened?Now, something here happened because it's not supposed to move like this. What happened? Where is the anchor points? I can't find it. Oh, it's here. How this did happen? Well, it happens all the time. Now we have to do this from the beginning because we did not pay attention. Stay here, please. There we go, don't move. Add position and scale, move them 10 frames. It's still up. Now let's scale this down like this, squash it, squash it more around 45, and adjust the width as well, around 126. Now for the position, I will just bring it up a little bit is like this. Here we go. Now select all of these and apply Kleaner. Remove the anticipation. Now if we click on "Play". [NOISE] Now you can see that it's a bit slow. First, let's check if there is a distance of 10 frames between the keys. This time I didn't get it right. Here we go. Now if you remember earlier, we've talked about morphing and we said the best thing for morphing is to happen in the top speed of the animation. Since we only applied easy ease to these keyframes, the top speed is not at the end of the animation, but it's somewhere in the middle. A way to work around this is just cut the layer a little bit to the right like this and then move the animation of the second layer inside the animation of the first layer like this. This is pretty much the same thing as morphing in the peak of speed. Now it looks more uniform. [NOISE] Cool. [NOISE] You hide those. Now we do the same thing for circle number 2 and O number 2. Now, since the second circle is moving down, we will do the opposite of how we did earlier. It will squash down and then bounce up a little bit. Again, with the O selected, move the anchor points this time down to the bottom. V for the Selection tool, then add a keyframe for the scale, another one for the position. Move them 10 frames, unlink the scale, squash down, and adjust the position a little bit down, like this. 23 plus 10 is 33, so we have 10 frames here. Select all of these, Kleaner, and remove anticipation from the Effects Controls panel. [NOISE] Again, do the same thing for morphing. Cut a little bit from the O layer and then move it inside the animation. Let's click on "Play". [NOISE] It looks better. [NOISE] Again, let's hide those. Now, finally, we still have the S and we will do the same thing, but there is no scaling involved in this one. We're just going to play with position and rotation.[NOISE] Change this to black. There we go. U, so it stops here. Cut here. This one, bring it here. [NOISE] Now for the S, same thing. Y, bring this anchor points down. V for the Selection tool. Then we will add one keyframe for position and one keyframe for rotation, so R for rotation and P for position. Now U to show all the keyframes. I don't know why the anchor point is animated here, but let just remove it. Here we go. Move this again 10 frames, so we are on the 26th plus 10 somewhere here. Now for the position, I will just bring it down a little bit. For rotation since this thing is jumping like this, you can see it will end here. You can see it moving down and then to the left, which means the rotation will be down. The rotation for the S or the position will be down for position and then rotation to the left again, to create that continuity. [NOISE] Apply some damping oscillations, remove anticipation, and do the same thing as we did earlier. There we go. Let's click on "Play". [NOISE] Okay guys, and here we have it. Now we can show all the layers. Then just one more thing that I need to do here, delete the T. This one, we don't need it. Just confusing me. This is T number 2 and this is T number 1. [NOISE] For this one too we need to move it a little bit to the inside so it looks more uniform. Now, let's play the entire animation. [NOISE] Recap highlights. In this lecture, we did some basic frame morphing and we applied squash and dumping oscillations to complement the morph. Up next, we'll add more optional steps to make our logo more interesting, and we'll also be adding colors. 12. Optional Steps and Adding Colors: Now finally, this is an optional step and you can use it to make your logo even better. I recommend to use it but if you're tired, you need a rest I understand. But take a breath and come back and mediate. This optional step is amazing, let's go ahead and see what we can do here. We want to duplicate the T right here, T outlines number 3. Then, I will cut this here, and then I will bring it down beneath all the T's, put it here, let's see the keyframes for this one and this one. Now, with this T selected, I will go ahead and bring it down, I'll select everything, and let's bring it down a little bit more. Then I will just select the path and then just squash it even more, click on View, and let's see the animation. This looks better, I got to say. These next steps are optional you guys, you don't have to do them if you don't feel like but you can do them later. Now, one more thing I want to do is just animate a little bit of the circle number 2, and circle number 1 because it does start as an entire circle, I don't want it to start as an entire circle, but maybe just as a point online. I'm going to select circle number 1, open the keyframes, open the offset path, and right here where we see Offset Path 1, I'm going to add a keyframe for amounts, click on You, puts the amounts here a little bit in the middle, and then at the beginning, decrease the amounts, just like this. Maybe more, just like this, click on Play. I'll do the same thing for the other one, and decrease the amounts to 6, there we go, and of course, apply [inaudible], how could you forget offset what happened to you at M. Now, let's go ahead and check the entire thing one more time. Now, as you may have noticed, we didn't talk about colors at all in this lecture. Now, there was a reason for this. There was a reason why I didn't talk about color, and we only did black and whites logo animation. Here's the thing you guys. You can always add colors after you finish the animation. For example, if I want to add color to any layer, I can just click here, I'm going to hit this shortcut to make the timeline area bigger, and then you look for fill, and then you can change the color from here. You just click and you can answer the hex code given to by the clients or by you, whoever you are making the animation for. Let's choose a color, for example, I'm going to go with, I don't know, this red right here, just an example, and then click again on the shortcuts, and now our T is colored. Here's the thing you guys, when you bring a logo with colors from Illustrator to Adobe After Effects, and you want to convert the layers to shape layers, chances are, you always going to face problems in the conversion when you are converting the layers. The reason is, After Effect is not so good with converting layers with effects, or gradients, or any styling applied to the logo. So if you want to do that, you have to make sure that the logo coming from After Effects has solid colors. Because after you do the animation in After Effects, you can always add stuff in here, we can add gradients, we can add effects, we can add everything we wanted to absolutely make the animation. My advice is, if a client send you a logo with gradients and effects and all that stuff, you better ask for a black and whites logo or a logo with the one color. Now, for my logo, I'm going to keep it this way, and the only thing I want to do here is go to Layers, or Layer, then solid, and then I want the background to be yellow. You see this hex code right here, it's the same as the one used in the Mailchimp logo. I'm going to keep my logo black and yellow, like the Mailchimp logo. Now, bring the yellow down here on top of whites, and here we have our animation. We kept highlights, this lecture we duplicated the letter T for more action in our animation. We animated the offset path for both O's and S, and then we added colors. Up next, Outro. 13. Congratulations: If you made it up till here, congratulations. Now you have enough knowledge to make beautiful logo animation. What I want you to do next is go ahead and post the logo that you animated in a project gallery right here. You can post it here and you can also post it on your social media, on your portfolio. We covered everything from logo restrictions to logo animation principles to actually making logo animations, and we created two projects not just one. If there is one thing you should take from this class is animation is all about placing key frames. Key frame is what makes the animation. Everything else comes in the second place. You place the key frame first and then you adjust them. You just speed graph, you adjust the distance between the key frames. But that is the most important thing to focus on. If you like this class, make sure to go ahead and follow me, leave a review so other people can find it. Of course, you follow me so you can get notification when I post a new class. With that being said, see you really soon.