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Trendy Kinetic Type Animation In After Effects

teacher avatar Hongshu Guo, Motion Designer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Intro

      2:49

    • 2.

      Find Inspiration

      4:26

    • 3.

      Free Plugins

      4:05

    • 4.

      Design + Prepare Artwork

      6:59

    • 5.

      AI to AE Without Overlord

      7:19

    • 6.

      Share

      12:29

    • 7.

      Success

      20:01

    • 8.

      Looping Animation

      6:48

    • 9.

      Party

      12:52

    • 10.

      Like

      17:11

    • 11.

      Thanks

      16:57

    • 12.

      Become Motion Insiders

      0:44

    • 13.

      Follow

      15:19

    • 14.

      Relax

      15:13

    • 15.

      Subscribe

      16:14

    • 16.

      Sweat

      14:44

    • 17.

      This Is Art

      17:15

    • 18.

      Texture & Noise

      6:15

    • 19.

      Export Gifs

      7:49

    • 20.

      Congrats!

      1:14

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About This Class

This is an After Effects beginner course on trendy kinetic type animation, you might have seen these fun and playful typography animation all other the internet and wonder how to animate them. In this class, I will peel back the curtains and teach you from choosing your own word all the way to the final render of the animation.

We will explore 10 different design and animation styles so that you can start using the techniques to explore your own animation right away. This class is for beginners who have little animation background, however, I am not going into the detail of how After Effects and the program work, we will dive deep into the animation right away and you can follow along the class even if it's your first time using the software. during the class we will cover:

  • Finding inspiration
  • Free and paid plugins
  • Looping animation
  • Design the type
  • Animate 10 different styles
  • Prepare files in Illustrator
  • Importing artwork
  • Manipulating layers
  • Layer Organization
  • Creating a Composition
  • Keyframe Animation
  • Simple animation principles
  • Working with graph editors
  • Working with Special Effects
  • Working with 3rd party assets
  • Animating vector artworks
  • A variety of tools inside After Effects
  • Keyboard shortcuts
  • Workflow tips and tricks

And so much more! Once you've completed this course you'll be fully equipped to take on different kinds of type animation and start explore them confidently on your own. 

Don't forget to join the Motion Circles Community , get together with other motion designers and learn together.

Classes mentioned in the lesson videos:

Beginner's Guide to Adobe After Effects 2023: Learn Motion Graphics

Other classes:

Animation Principles In Motion Design: Secrets of Great Motion Graphics

Explainer Videos From Storyboard to Animation

Stop Motion In After Effects: Animate Collage Style Explainer Videos

Meet Your Teacher

Teacher Profile Image

Hongshu Guo

Motion Designer

Top Teacher

Hey! My name is Hongshu Guo. I am a Motion Graphics instructor with 40K students online. I help beginner animators master After Effects animation through online courses. Thanks for checking out my profile. Please take a look at my courses below and hope to see you in my classes.

Watch more free After Effects tutorials on my Youtube Channel: www.youtube.com/@motioncircles

Join the Motion Circles exclusive community on Discord: https://discord.gg/weezcdqe

See full profile

Level: Beginner

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Transcripts

1. Intro: Hi, this is home Sho from Motion Circles.com In this course I'll teach you how to make trendy type animation that you see online. I have been teaching motion design for four years now and have taught over 40 K students. I'm truly honored to be able to share what I've learned in the past ten years with the community and help the students in their motion design journey. This class is inspired by the work that Matt, Boys and Pitrit have been putting out for years on their Instagram channel. They have put out hundreds of ways to animate typography and the work they're doing are truly inspirational. If you want to get inspired on how to animate typography, make sure to check out their Instagram page in the class description below. In this course, I'll be showing you how to animate typography the way they do and make your type fun and visually appealing. This class is beginner friendly. However, I'm not going into too much details on how after effects works if you're interested in learning the software. This other class is called the complete beginners course on after effects will help you and get you started right away with the software. In this course, even if you are a beginner with zero experience in after effects, you will still be able to follow along step by step with the things we teach. I try to make this course as simple as possible for beginners to understand the process and logic behind the animation. Once you understand the ways we animate these typographies, you will be fully equipped to animate your own typography animation in the style you like. And start explore all kinds of possibilities on your own. The techniques and process we teach in this course is applicable to any other motion design project. And you can apply the things we teach in here to other projects right away. For the class project, I'm going to take you through how to animate different styles of typography. Step by step, you can download the project files to follow along. You can also choose your own word and design to test out the techniques we teach. The goal is simple to make it fun through these different projects. In the class, you will be learning all essential aspects of after effects with real world practices. We'll be covering, how to prepare your design file and illustrator. How to customize your own design storyboard. How to leverage free plug ins to work more effectively and save time. How to take full control of your animation by using speed graphs and bring life to your movement like a professional. How to apply special effects to your type animation and make it stylized. How to animate realistic bounces. How to apply some simple animation principles to your project. And how to use simple keyframes and graph editors to achieve complex animation. Tons of keyboard shortcuts, workflow tips, and trick that you can start using right away. At the end of the course, you will have a complete understanding of how to make these trendy typography animation and be able to explore on your own. Once you're done with this course, you can check out my other classes and start diving deep into motion graphics and after effects animation on various topics. If you have any question going through the class, don't hesitate to reach out and I'll be here to help you. So are you excited to get started with some awesome looking trendy typography animation to share online? I can't wait to see you in class. 2. Find Inspiration: Welcome to the class. Before we begin to dive deep into after effects and animation, I want to talk about where to get inspiration and color palettes For me, I like to get inspiration on Pinterest and Heads. The content are curated and you will be able to find awesome design and animation on Pinterest or heads. Just type in anything you're looking for. Let me show you how it's done. Now we are inside pinches and I've put in the keyword kinetic typography. This is what it shows me. Basically for pinches, the result is based on your previous search history. The more you look at those awesome looking design and the better design will show you. Basically you can see these are all the different types of kinetic type that you can reference or get inspired from. Something like this. One is looking pretty cool. And once I click one of them, if you scroll down, you can also see some of the related design and animations. And this is a good way to explore different styles of animation or designs. You can also see there's different color palette that you can even reference from these inspirations. I'm pretty sure if this is the first time you're using Pinterest. It doesn't show you this many good looking designs. But be patient because once you use it for a while, it's going to show all the different designs based on the ones that you clicked on through time. Your boards is going to look better and better. And these are all great ideas you can use to animate your own typography. Some of them are static, some of them are animated, and they can all be good references. That's it with Pinterest. If you go to hands, we can search kinetic typography. You can even use a different keyword, maybe like type animation. It's just going to show you a bunch of different ideas where you can animate type. And this particular one is from Matt, as we mentioned in the previous intro. And he's done a lot of great typography animation. You can reference his style or his animation. There's a ton of different options and there's also other amazing designers who are working in typography. And they will have those beautiful kinetic typography animation like this one is looking pretty cool as well. I like the texture and the animation is fun, playful, that looks pretty good. I personally don't use hands a lot, that's why you can see the boards over here on hands, it is not as good looking as the boards in pinchest. Once you use like one of the program or the software for a while, it's going to take on the kind of style you like. And then through their algorithm, it's going to recommend you more and more the ones that you liked or you clicked before. So that's why you see this colorful palette or like a array of different animation that's on my board. And through time, if you click on those beautiful looking ones, it's just going to populate more and more better designs for you to match up with your taste. So that's a good way to get reference or get inspired by the amazing designs and animation we already have that's on the Internet In terms of color palette, this is the website that I'd like to use. It's called Cooler Stassio. If you go to tools and then you can go to explore palettes, there are a ton of color palette that's popular right now that you can use. You can just take a screen grab or you can even generate your own palettes. If we go to the palette generator and if we hit on the space bar, it's going to populate all these colors. If you like one of the color, you can lock it. Let's say if I, let's populate like this one. If I like these two color, I can lock them here. And then keep populating other colors. I like this yellow here. And then let's keep populating the two on the left. I'm just hating space bar to keep switching the colors over here on the left and think until I find a good one, I think this is pretty good. So I'm going to save this palette for my project. That's how we get inspiration from the Internet, and also how to get a good color palette. In this course, I'll be using a lot of keyboard shortcuts and it'll be reflected on my screen. Keyboard shortcuts are great ways to improve your efficiency and workflow. It separates the amateur animator from the professionals. If you want to do it the professional way, make sure you use the keyboard shortcuts the way I do. And with practice they will become natural and intuitive to you. That's it. With this lesson, I'll introduce you with some plug ins that we'll be using throughout the course in the next lesson. 3. Free Plugins: In this lesson, let's take a look at some plugging that we can use to speed up our workflow and help us animate typography. Let's go to Scripts.com This first one I want to talk about is called as Copy. And this one is name your own price. You can put zero if you're a beginner and you want to test it out. And if you want to put whatever number, you can put it here and add it to cards. Basically, this one is going to copy your eases without overriding your values. What it means is that once we use this one, we can apply the same easing animation to different things by just copying the easing without changing the value of the property. So we're going to demonstrate how to do that in the actual license, but this is a very good one. That's going to save us a lot of time and speed up our workflow. This is the first one, each copy, and then if we go to another one, this is called Decomposed text. It's also name your own price. So what this plugging does is it can separate each letter from one textbox onto its own layer so that we have each letter separated and can be animated individually. And that's very important when we do the animation for typography. This is also a name, your own price, and you can put zero if you're a beginner just to test it out. Another plug in I want to talk about is called Motion Tools Pro from Motion Design School. This one is also free and it's got a lot of different features. I'm pretty new to this and I want to test it out, so I kind of play around with it while we are animating typography, I'm going to show a couple ways to use this plug in. There's a lot of potential to this plug in, but we only explore very little from our lesson Still, if you want to use it and try it out, you can download it and test them out yourself. There's also tutorials online where you can find people how to use this plug in to speed up their workflow. And this is a very good one for me, personally, I haven't been using it too much. And the last one is the overload. This is a paid plug in, it's not free, it's from Battle X. Basically, it's going to help you transfer your Illustrator file or Illustrator layers to after effects seamlessly so that you don't have to do anything just with one click a button, you can transfer all these shapes information from Illustrator to after effects if you're a beginner. We also showed you how to do it without the plug in, but this plug in overall is going to save you a ton of time. And that's for the four plug in that we have. The first one is as copy and then decomposed Text Motion Tools Pro and then overload. If I open my after effects, I already have those downloaded and installed. If we go to Windows, we can go to extension, and there is the motion tool panel one. I can turn this one on and then I can drop this panel maybe just right above my effect control over here. So that I have this motion pro panel open. I want to drop this effects control panel underneath. So we have two panels separated. And then I'm still seeing like this motion tools pro, that's how I arrange the panels. And then if I go to Windows, I can also access my decomposed text underneath over here. This is one we actually need it, we can open a window to access that plug in. And this is the copy. If I want to do this one, I'll just make it smaller. Maybe put it on top over here just to dock this copy. And then I have my East copy and my Motion tool over here. I can switch between the two by clicking on the tab over here. We're going to use the As copy a lot and then we're going to use a little bit of motion tools In the lesson, you can explore this plugging on your own. There's a ton of potential, like I said. The last one is the overload. However, the overload is mostly when we're using it in Illustrator, we transfer Illustrator files to after effects. In this case, since it's inside after effects, you can also transfer backward means, like you can transfer layers from after effects to Illustrator. It works both ways, and I'll show you that in the lessons coming up. That's it with the plugging that we're going to use in the lesson. Let's go to the next video. 4. Design + Prepare Artwork: All right, let's get started with this first lesson. In this lesson, we're going to animate the word share. Share stands for share your work. As a creative person, you got to keep, practice your craft and share it with the world. Sharing is a contribution. The more you share, the more you inspire others. So as you can see here in our illustrator file, we already have the word share designed with a beautiful color palette. However, I want to show you the full process of how to animate any word that you like in this style. So in order to do that, let's start from the ground up. Let's use the right panel here to design this word. And then after the design, we're going to import this artwork inside, After effects To animate, we'll quickly design this word. The font that we're using is called drug boats. We just need to type in the word. Now, I also did some stretching of the heights. Right now it is 171% of the original heights because we want to fill up the space. A lot of the times we're animating the path property of these words. In order to do that, we need to outline the fonts after the outline just hit on command shift O for the outline. After we outline the word, we're not able to change the word that we selected anymore. So make sure you choose the right word that you want to animate before you outline it. And after you outline it, you won't be able to change anything. Now we just need to duplicate this word. Hold on, option and then drag it up. Now we have another word here. Let's change the color to green. Let's move it over here to have an offset with the second layer, so that we almost have a three D shadow behind the word that we have. However, we also need to tweak the path of these back layers so that all these corners are connected as you can see here. The way we want to do that is we can zoom in, Go to select the second layer which is a black layer. And then let's go A on the keyboard, select all these anchor points. I'm going to drag this anchor point here to connect these corners here. And then I'm going to drag these two anchor points, move it up that it is connected at the top. And then over here I need to connect this corner. Just drag this anchor point, connect the corner there. And then I can drag this anchor point to move it over to the left so that the shadow is coming over to the curve nicely. Now we have a three D S here. We're going to do the same thing for the H. We'll modify the black layer at the back. Right now we have this direct selection tool selected. So we can click on these anchor points and then just drag them. You can see over here we're missing one anchor point. What I'll do is I'll hit P on the keyboard with my Pin tool. I'm going to add an anchor point on this path. Hit on this path, and now I have an extra anchor point. Hit A on the keyboard to go back to the direct selection tool. And then I'm going to drag this anchor point all the way to the edge corner here to connect these two corners. And then I'll add another anchor point in here, P on the keyboard, Add anchor point, hit A on the keyboard, Go back to the direct selection tool, do that. And then over here, I'll drag it here so that we have the H all connected. That's good. We'll do the same thing for the other letters. Now I think everything is looking great. I've got my three D letter. Next thing we just need to change the color of the H and R. I just realized we're missing an exclamation mark, which is fine because we can use this batch after I have this designed. Now I just commence shift G to ungroup all the letters. Now I can select the H and R to pick this color. Now we have Share ready to use. That's how I designed this letter here. After we have the letter designed, we just need to import these letters into after effects and start animating. Let's go to After Effects. Let's create a composition. Click on New Composition, Name this one main Com, and then make it 1080 by 1080 pixels. Frame rate, 30 frames per second. Change the duration to 10 seconds. Click on okay, now we have this work area that we can use. That's good. Let's go back to Illustrator. Now, the industry standard to import Illustrator files into after effects is by using a plug in called overload. It's under window extension overload. However, it's a paid plug in, it's not a free one. We're going to show you how to use the overload to quickly transfer files between Illustrator and afterfacts. It's going to save a ton of time if you are working between Illustrator and after eats. It's just going to be a huge time saver. I'll also demonstrate how to import the files without overload the plug in at the end, But for now we're going to save some time and use overload. Once we have these letters ready, I'll just select each one of them and then use overload to transfer the files inside after Efax. Let's select this and the black layer at the back. Now we have this whole S letter selected. Let's push this button here. Transfer our letter to after effects. And then I'll select the pink one transfer. And then select the A again transfer. You can see how fast it is to transfer all these shape information, path informations from Illustrator to after effects. Now I can push this background as well in terms of the shadow. We can create it later once we have the animation. So we don't need to worry about the shadow. And we can worry about, or maybe I can push one star and then just rename this one to Star. For now, I'll just hide it because we don't need to use the star for now. Now I have all my elements inside. After effects, we can go start animating within after effects. First of all, I need to group these letters. First two layers is going to be my letter S. Men shift C to make a new composition. Name this one chair. Okay, and then the command C, H. I'm grouping these letters now I have all my letters and my star, and my background. 5. AI to AE Without Overlord: All right, in this video I want to talk about how we transfer Illustrator file into after effects without the plug in overload. Although overload will help you to save a lot of time, it's a paid plug in, so if you don't have it, there's also a simple way to transfer file from Illustrator to after effects. Here we have this Illustrator file set up. And in terms of text animation, the first thing we need to do is we need to outline those text. Let's say if we have our text design in Illustrator, the first thing we need to do is to outline it so we can use a shortcut command shift to make sure it's outlined. That's how you outlined the text in Illustrator? I can delete this one since our design is already outlined. I just want to show you how we can outline it before we import our files. The reason we need to outline it is because the way we animate in after effects a lot of the time we need to manipulate the path property of these shapes. We need to have these shapes in an outline in order to animate in after effects. After we have the topography outlined, we need to go to a layer panel. And then let's click on this drop down menu here. Let's select this Release to Layer sequence. So right now you can see we only have one layer inside this layer panel. Which means if we import this file into after effects, we are only getting this one layer with everything baked in on this one layer. So that we cannot manipulate each letter or element separately. So in order to animate these letters separately, we need to go to this dropdown. Click on Release to Layer Sequence. Now you can see everything under this layer is separated on its own layer. And now we just need to select everything that's underneath this layer one and then drop them outside of layer one. That layer one becomes empty. Now I can delete it. In this case, you can see each element is separated on its own layer. If I toggle these visibility icons, you can see this is my color palette over here. And then I got layer seven, which is a star. Here, I got a bunch of layer that represents stars. And then over here, I got each letter on its own layer. That's the way we want to separate our layers inside Illustrator. Let's save this Illustrator file. That's all we need to do inside Illustrator before we import this file, let's save this one command S. Let's go to After Effects. I already have my composition set up. All I need to do is go to Project Panel, Double click over here. Let's navigate to my storyboard, which is Share. And then on the Import as we need to change it to composition, retain layer sizes. This way we can keep the layer size that we have in Illustrator, which is 1080 by 1080 without changing the original file size. Then make sure we don't select this Illustrator or Photoshop sequence, because if we select this one, it's going to cause a problem with our timeline. Make sure this is unchecked. Click on open. Now you can see we got a folder called Shared Layers, which contains all the layers that we have inside Illustrator. And then we have a composition imported. A double click inside this composition. Right now you can see under this composition, we have all these layers. That's similar to what we had inside this layer panel in Illustrator. That's how we import all these individual layers inside after effects in order to animate. Now what I need to do is select everything, copy them, and then paste it onto my main composition, which is my working area. That looks pretty good. The next thing we need to do is to organize the timeline a little bit. I already know that the first couple of layers until layer six to six, these are my color palettes. So I can delete it for now. I don't need my color palette. And all the star layers, I can group them inside one composition. So select all the star layers. Command shift C, name this new composition star. Now we have the star layer saved inside my project panel here so that I don't need to have it inside my timeline. I can delete it in my timeline, but it's going to remain inside my project panel over here. Let's see what we have underneath. This is my exclamation mark. With my exclamation mark, I also want to find the shadow that's in the black behind my exclamation mark. I want to find that shadow. This layer 27 is a shadow. So these two layers should go together as one letter. Right? To group those, I'll precompose it, command C, Just name this one exclamation mark as my letter. And then I'll find the next two letter. This is a E. I want to find the shadow of the E because these two made up my three D letter E. We'll group these together. Call it like this. Now you get the idea. I just need to find each letter with the shadow behind it and group those two layers together to represent each letter. That's how we transport our illustrator file inside after effects. The issue with this shared letter animation that we have, we're going to animate in the next video. However, just a preview, we're not going to change the shape information or the path information of these letters. In that case, I don't need to change any of the illustrator layers into a shape layer. However, there are some cases that we need to change them into a shape layer. So to do that, let's for example, if we want to change this R into a shape layer, all I need to do is re click go to Create, Create Shapes from vector layer. And now you can see it's going to create an outline layer, layer 18 Outline. And turn off my original Illustrator layer. Now if I go to this dropdown menu, go to Group, go to Path. You can see if I click on this path, I got all these anchor points that I'm able to manipulate to drag and morph these shapes into a different letter for animation purposes. So these are the two things I want to show you in this lesson. First is to prepare the Illustrator file inside Illustrator. Make sure in the layers panel, we're separating each layer on its own individual layer with the release to layer sequence command. And after we have all these elements on its own layer, we can import them inside after effects. And then we can use the composition to group them together. If we don't need to animate the past property. If we do need to animate the past property, we can just go re click and then go to Create, Create Shapes from vector layers. And that's how we create these shapes, where we can animate the past property over here to morph between different path. If you don't have the overload plug in, this is going to be your go to video. If you've forgot how to import files from Illustrator to after effects, you can always refer back to this video. And with practice, this process is going to come natural to you. That's it with this video. Let's go to the next one to animate this Shear text. 6. Share: Now let's get started with the animation. First, I need to P on the keyboard to pull up the position property, and now we can re click separate dimensions. Since we're only animating the Y position, we don't want any X position changes. Let's say the key frame on the Y position. First of all, I want us to move up and down. What I want to do is I'll animate one letter and then apply the same animation on all the letters. And then offset the animation keyframes so that they all have the same animation staggered, so that all the letters are animating one after another. Let's try this animation first, go forward. Five frames. Command right arrow, 12345 And then let's do a anticipation because my S is going to move down. Before it moves down, I'll have it move up first. Most like gaining energy in the opposite direction. It's an animation principle that we used before. I move, you always go to the other direction to gain energy. And then let's go forward ten frames. Command shift, right arrow for ten frames. We'll move this letter down, maybe around here. That looks good. And then go forward ten frames again. Command shift right arrow. It's going to go back to the overshoot position, command C, copy this key frame over here, and then go for five frames again, 12345 copy the first keyframe. It's going to go back to the original position command V. Now this is one loop of my animation for the S. If I preview this one, it's going to go up and then go down and then comes back an overshoot. It's going over a little bit, It's almost like going over too much and then recoil back into position. This is my general animation for the S. Now I just need to select all the keyframe, reclick, keyframe assistant, go to ***. And then let's click on this graph editor to modify the graphs in order to get some energy of our animation. Now we just need to drag these handles a little bit so that we get some energy. Maybe 75% of influence, or let's try 70% of influence. You can see there's a influence number when I'm dragging this handle. Let's try to give 70% of influence over here. It doesn't have to be exact for the anticipation overshoot. Maybe give it a 55% of influence. I don't want it to be too much. Now, let's see what it looks like. Yeah, you can see. Now we have some energy to our letter. It's got some character. I like this motion here. Now we just need to duplicate this animation again. Let's make sure it, once it goes back to the original position, it's going to stay there for five frames. So let's move forward five frames, 12345, and now we can copy the key frame. All the key frame command C, command V, and then go to the end again, 12345, hold it for five frames. And then copy again. And then let's copy one more round, 12345, Copy again. So now we have four loops of our animation. Let's play this S animation here. Yeah, I like that. Now we have the animation ready. We can just copy all these keyframes to the other layers so that they will have the same kind of animation. But before we do that, we need to select all the layers P on the keyboard, make sure we re click on the position property, separate dimensions. Now we have the white position. Let's copy all the keyframe in it position. And then select all these position property for the letters. Make sure our timeline indicator is at zero. Second command V to paste in the key frame. Now everything has the same keyframe. They'll move the same. Now, all the letters are moving at the same time. However, this is not what I want to do. It, I want each letter to move one at a time. So in order to offset it, let's go select the letters from the second letter, the key frame from the second letter. Select all these, make sure you don't select the first batch because we need those for the easing influence. And now let's go to this motion tools plug in. I already showed you how to install this plug in in the previous video and how to put it in here in your after effects panels. We need to change the amount over here to two frames. And then let's hit this button here. It's going to offset our keyframes by two frames. However, once I click on that, if I go to my graph editor, you can see it's deleting all of my easing information. So what I want to do is select the first batch because we didn't touch the first batch, which is the animation on the S. We need to select the animation on the S and then make sure we do a copy on the easing information. And then we can select each letter, all these keyframes. Make sure we paste in the easing information again. So that we still have that animation that we have at first. And now I need to offset the first two layer by two frames as well. If I select all the key frame and go to the graph editor, now you can see all these curves are beautifully offset. And that's what we want. Let's play the animation that's looking pretty good. Now we can just quickly animate the stars. Let's say we have the star here attached to the S. Let's hit R and shift on the keyboard to pull up the scale and rotation. Let's hit the keyframe on the scale and rotation property scale, 420 frames, comment shift. Hit the key frame again for the rotation, I just wanted to maybe turn one round in 2 seconds. Then for the size, I'll have it maybe around 50% at the beginning. And then go all the way to 100% And then hold there for five frames. 12345, hold there as 100% for five frames. And then go back to this again. I'll move these two in the center. Now we're going to re click Keyframe Assistant, Easy Ease, and then go to the graph editor. Let's try to manipulate the handles to give it some influence. Give it maybe like 65% or 70% of influence to have a curve similar to this one in terms of rotation. This is my rotation curve. I'll pull these handles together. And then in terms of the scale, this is my scale curve that looks pretty cool. I feel like it's not moving fast enough. Let's pull these together, make sure it's rotating fast enough. I'm selecting all the key frames. And then holding down option to move the last keyframe to adjust the time to make it go faster and slower. Now I can duplicate these keyframes. Command go forward five frames, command V. Now I'll change this rotation to two rounds. This is going to be the second loop That looks pretty good. Now I can duplicate the star command D for duplication. I'll move the star to be around here at the corner of the itch. And then the third one, I'll move it to be around here. The fourth one, I'll move it around here. Fifth one, I'll move it around here. And that's all the star we need. And then I'll parent the star to each letter. So the first star is parent to the. So that it's moving with the. I want to make sure it's moving with the letter so that it's not rotating randomly. The last one is going with the exclamation mark. Now I just need to offset the key frame a little bit. Maybe by two frames. 12345, maybe by five frames. And then 12345 go 45 frames offset. This one go 45 frames. 12345 offset. 12345 offset. That looks pretty good. Now let's make a shadow layer for our text. Let's select all the layers above the background and set C. Let's change this one to Share Animation. That's good. And then duplicate this layer command D. Let's go to the effects and Precess Panel sender, Windows effects and precess. Search for effect fill, Go add a fill. Then let's move this one down to the right a little bit. And then let's select this one to be a lighter version of this background color or a darker version of this background color. Just slightly darkened, almost a hint. I think that looks pretty cool. Let's play this one. Now we have a shadow going on underneath our text animation. Now the last thing we want to make is a swipe sheen effect going over from the left to the right going over the text. To do that let's go to layer new solid. Let's create almost like a white color. Let's try a white color. Now I just need to go to the Pintole. Draw a shape that looks pretty good. Now I'll just move this one over to cover this letter here. I'll move it all the way to the right. Let's make sure the anchor point in the center, Hold down command triple click on this pen behind tool to move the anchor point to the center. And then let's hit P on the keyboard. Let's add a key frame and then go forward 123440 frames. Move this one all the way to the right. Select both key frames. Right click keyframe assistant, easy ease. Go to the graph editor. Make sure we're all adjusting the speed graph. It's been the speed graph that we are adjusting since the beginning. That's something that I forgot to mention before. Make sure to click on this button here to go to the speed graph that we're adjusting to manipulate the animation. Give it a graph like this. Just want to make sure it's covering all the letters one is sweeping across. That should be fine. And then next thing we need to do, we need to make this share animation to be the alpha mat of my white solar layer. Let's go to click on the white solar layer. And then we need to turn on the track Matt option over here. If you don't have it, make sure you click on the second button here in the corner to turn on the track mat. And then go to select the layer number two, share animation to be the track. Now my share animation has disappeared because the icon is turned off. But we need to turn it back on. And now if I toggle over, you can see the chin effect is covering, overlaying on top of my animation. I feel like the transparency is too much. So hit on the keyboard. Let's change this one to 85% tone it down a bit, and now let's see what our animation looks like. That looks pretty good. All right, that's it with our first animation. Don't forget to try it and share it with the world. I'll see you in the next lesson. 7. Success: Welcome back. In this lesson, we're going to animate the word success. Action is the foundational key to success. Pablo Picasso ideas won't lead you to success, actions will. So today we're going to put in some practice to animate this word, success. As you can see here, we have our success designed in our board with an illustrator. I already showed you how to use the plugging overload to transfer file from Illustrator to after effects, and I also showed you how to do it without the plugging overload. In this lesson, I'm going to teach you another way, which is to build this design inside after effects so that we don't need to transfer any files. Now let's go inside After effects now. First let's create a new composition. Let's name this one main Com. Let's change the dimension to 13, 50 to 1080. And then frame right to 30 frames per second. Duration to ten second. Click on. Okay, now we have a composition and the project set up. First of all, I want to grab this pink color that I have in my R board. I just want to grab the code and then go to after effects. Let's create a background. Go to Layer New, Sell it. Click on the Color Paste in the code. Click on, okay, now we have a pink background. We can lock this layer for now. Now we just need to create our own text. Since we're not using any of the text within this Illustrator file, we can build everything inside after effects, and we can animate right inside after effects. Let's type in the word success, then let's go to navigate to character panel. If you don't have it, it's under Windows character. The font that we're using is called Rock Grotesque condensed bode. I just want to make the font bigger to fill up the space. I also want to stretch the height, vertical scale of the font to make it higher. Somewhere around, maybe here, that's tall enough. Next I want to drag two rulers to mark the top and bottom margin. Command R for the ruler. I will just drag two ruler to make sure I got a similar margin. So that the font that we have does not go over the margin, getting too close to the edge. Now I can move this word up, that looks good. And let me duplicate this layer command. Drag it down for this text. Let's go to character. Let's change the fonts into a different width. Let's choose the bold one for now. And then I can shrink the size. I don't want this vertical scale anymore. Change it to 100% and now we have this shorter version of the success, and then we have a taller version of the success. Zooming in terms of the spacing in between, I want to maybe get these two closer to each other. So that in this case, I might need to change the scale. Might need to change the vertical scale of this top layer even bigger. Now we have a pretty good spacing between these two different layers. I think that works for now. The way I want to animate these is that I want to use the path property of these two different version of one same letter. To morph between being tall and thick and then being short thick. It's basically a morphing between this over here, this path property information, and then this small path property information. To do that, we need to convert everything into a shape layer with path property Re, click Create, Create Shapes from text. And then go to the first layer, Create, Create Shape from text. And now we have the two text layer outlined that has path information. We can hide these two original layer now just uses Shy button and then click on the Shy here to hide the two layers. If I toggle the drop down menu under the content, I have all these different layers within this one layer. And then I have all these other letters within the second layer, which is the bottom text. That looks good. And first, I just want to animate the top one first. The way we're going to do this is that we need to select two layers. Let me select both layers. And then in the search bar, let's search for our path. Now it's going to turn on all the path property that we have. Under each letter, we need to add a keyframe on the path property, all the letters that looks good. Next, let's say we're going to animate the letter S first. To animate the morphing between the shorter version of the S and the taller version of the S, all we need to do is to copy the key frame under the path property. Let's copy this key frame, and then let's go to the path property of the taller S. And then let's go forward 25 frames. Command shift, right arrow, 12, that's for 20 frames, and then 12345 for 25 frames. And then we can select the path property. Hit command V to paste in my smaller version of the S. However, it's moved to the bottom. I need to have a stay on the top. And once I do that, if I preview this, you can see the S is stretching. That's the kind of animation that we need. It's pretty straightforward. And then let's say we go forward another 25 frames. Then we can copy the previous key frame which is the original state man C and then command B. Now if I solo this S layer and the background and then if I just play this animation, it's going to have this S layer coming up and down morphing between the tall version and the shorter version. So that's how we animate a morphing between different thickness of the font. A special note here is that in order to animate the morphing smoothly, it's better to have the two thickness within one family. Because for most of the font that's well designed, the anchor point, the number of anchor points are always the same within the same family. You can see this longer version, the taller version of the S it has, it has this many anchor points. And then if we toggle to the shorter version, it's having the same amount of anchor point. And those anchor point carries the position information and the path information that's morphing between these two thickness, let's say if we change it to a different font family and then if you want to morph between two different fonts, and then the two different font family is going to have different number of anchor points. That's going to cause a problem. So make sure you always animate the morphing between characters or between letters within the same family. And then some of the font works better than the others. For example, this rock grotesque, it's having a ton of different thickness from extra wide to like normal width. And then condensed, compressed. They have so many different thicknesses that you can use to animate. And there's also other fund that we're going to use throughout the course. But that's a special note, is that we need to always animate within the same family. Now you can see that basically how we animate one letter, since we already have this S, we can unsolo this letter and the background. Now we'll just do the same thing for the rest of the letter. Let's see if we want to animate the U. Let's copy the shorter key frame over here. And then let's go down to the U here. Make sure we align the key frames together, V. Then we just need to direct the U all the way up to align with our margin. Now we can copy this first key frame. Now we have the S and U animating. That looks good. Let's do the C. We've got the C here. Go to this one and then align the key frame together. Then we just need to move the C all the way up. Then go to the second C, because the same letter, we just need to copy it. And then we just need to move the C over here as well. That's good. And then we have the E. Let's copy the key frame on the E. Then let's go to the path property of the E. Make sure you select the path property before you paste in the key frame, otherwise it doesn't know where to go. That looks good. And then we have the, let's go to the key frame of the S, and then let's go to the taller version. Make sure we paste it in, move it to the top. The last one, we can do the same, but just move it all the way to the back. This is going to be our animation. And then if we go forward 25 frames, again, we're going to copy the original states of each letter so that it's a loop. Now you can see if I play it, we got all these letters animating that looks pretty good. Next thing we're going to do is we're going to do the same thing for this bottom layer. Now we just need to copy the information from the taller version. Let's go to the S, which is the first key frame. Then we're going to paste in this first keyframe to this shorter path property command V. That looks pretty good, it's already coming up from the bottom. That's what we like, then let's copy the U. Paste it in. That looks pretty good, so that we don't need to adjust the position anymore. It's having the exact position that we want. Now we copy the C. The second C here, that looks good. And then we copy the E, that's good. And then we'll copy the S. Then the last S, which is this one. Make sure you select the past property. Now I just need to make sure it's going back to the shorter version after 25 frames to make up a loop. Now if I play this animation, this is what it looks like. It looks pretty cool. However, we need to adjust the easing setting so that it's got more energy. Let's select all the key frames, then we re click Keyframe Assistant. Easy ease. Let's go to the graph editor. We need to change these handles. Make sure we're inside the speed graph. Click on the second button. Edit Speed Graph. Now we just need to dig some influence. Maybe change the influence to 70% Let's try to change the influence to 70% on both handles. It's going to give us a nice animation with some energy that looks pretty good. Let's go back to the timeline and see the animation. I feel like I want more energy. I want to make it even more. Maybe instead of 70, let's try a 80% of influence to have more easing and more speed variation. Let's try 80% of influence. That looks pretty good. Yeah, I think I like that if I drag this timeline even taller. Now what we want to do is I just want to duplicate these keyframes. First of all, select all these keyframes, command C, and then we can duplicate these keyframes two more times. Command V duplicate. And then over here, command V duplicate. And maybe one more time, command V duplicate, playing four times. Same with this batch of key frames. Copy. Then command V pasted in command V past it in. Command V pasted it in so that I know my animation is playing four times. Now that's good. And the next thing I want to do is to stagger these keyframes. Or offset these keyframes so that each letter is animating one after another instead of all at the same time. To do that, I basically want this S to go first. And maybe after two frames right arrow two frames, I want this to go. And then I want each letter to be delayed by two frames. Let's see what that looks like. If I delay the animation for two frames. For each letter, that's good. And then we're going to do the same thing from the start. We're going to have two frames. It's going to be my second letter here. And then go for two frames. Now we have everything delayed by two frames. Now that's pretty smooth. I like how it looks. That's beautiful. If I close the drop down menu, all I have is two layers within one composition with a background, but the animation is already inside. I like how that looks. Let me try to change a couple of letters into a dark color instead of the white one. I want to change and the C and E and into black. To do that, let's go inside this first layer, and then let's select the go to the fill. And then change this color to black. And then next one, we're going to select the first go into the fill, change it to black. Then we're going to change the E. That looks good. Then we're going to change the, this one. Run one. Need to change the last to plaque. That looks good. And then for the second layer, it's going to be the bigger U here. This one. Then the C here. This one, the second one, and then the S here. Okay, that looks pretty good. If I select all and then close all. Well, that's my animation. That looks pretty good. I feel like it's not right in the center. I just want to move it maybe in the center a little bit. Let's see our animation. Now let's adding some turbulence on top of this animation. Let's go to the layer new and then select adjustment layer. Now we're going to add in an effect called turbulent displays. Select the turbulent displays, you can see it's already distorted. I want to change the amounts to make it less, maybe 20. And then let's change the size to a smaller size, maybe to ten. You can see my edges of the letter is already roughened in terms of complexity. I can tone it up to maybe five, and you can see the edges are more pixelated, even more. Now we can animate the evolution. Let's go to the beginning from zero. I want to see where my end is. If I have my end over here, I'll change the evolution to maybe five times. Now my turbulence should be moving and I should be having a turbulence that's constantly moving. I feel like the complexity too much. Maybe I tone it back down to three and then the size to seven, just on a very gentle movement. The next thing I want to add is a noise effect. I can do a noise effect over here. Add it on top of my layer, put the noise effect in the front. Let's change the amount to 10% It's going to have slight noise going over my animation. I think that looks pretty good. And the last thing I want to add is those arrows. You can draw the arrows in after effects. To save some time, let's just use the overloaded plug in to push it into after effects. I got two layers here, which is my arrow. I'll drop it down, put it underneath the noise adjustment layer. And then I'll just quickly animate these two with a trim path. Let's go to the trim path and then let's to zero. Make sure the start is all zero and then go forward maybe 20 frames, change everything to 100% then relic go to keyframe velocity. If I change the influence to maybe 66, the same thing as this one. Go to keyframe velocity change to 66. Then I need to move the two key frames in the end forward so that they are not starting at the same time. Let me copy these four key frames and put it under layer one. That should be our animation for the Eros. If I select the two layers, MechifC name this one arrows. Now we have one arrow over here, and then I can duplicate it. Hit R on the keyboard, rotate it to 180 degrees, it's over here. And then duplicate it again. Maybe put it around the C here. Now I just duplicate the arrow a couple times. I spread them out, place them to different positions according to my animation. Well, that's it with the animation of the success hope. Enjoy it. And I'll see you in the next video. 8. Looping Animation: All right, in this video I'm going to show you how we can make a seamless loop with our animation. Let's use this project as an example. In order to make a seamless loop, all we need to do is to find a starting point that's the same as the end point, and that's how we create a seamless loop. Let's toggle the timeline and see our animation first. If we go to the keyframes of our success, animation you on the keyboard, you can see this beginning frame. We don't have anything that's the same as these beginning frames. So I need to pull it all the way until my last pass key frame is starting to animate. So at this point, I think this could be the starting point, because this is a point when everything has already started animating. I need to make sure I drag a ruler to find a reference point. I can use this S as a reference point. Let's say I just want to mark this position of my first S ear and make sure I know where this is located. And then I also want to use a different word as a reference, like the smaller S here. I'll drag a ruler down here. If you don't have the ruler, just hit command R. To pull up the ruler, all we need to do is find two reference points. The first here and then the dark smaller S here. This is my position for the S. And then I be on the keyboard to cut the preview range to start my animation. From this point on, the next thing I need to do is to find a end point where this is at the exact position as my ruler. If we go forward, this is our animation. This animating. That's good. That's good. If we want to find something, we can go from the ending here. If we drag the timeline indicator from the back to the front, you see around this point on this is the exact point where my two S's are in the exact location with my s from the start. That way I know this frame is exactly the same as the first frame. If I cut it here, it's going to create a seamless loop. Let's hit in on the keyboard to cut the preview range to here. And this is the preview range where we're going to have a stimulus loop animation. Let's hit space bar for the preview. Yeah, you can see that's a seamless loop. Since we also have some secondary animation. We have all these arrows that's coming in and out. We also want to make sure all these arrows are starting and ending inside my preview range. If my arrows are going outside, starting from here, it's going to mess up with my loop. If we have a secondary animation similar to this one, I need to drag all my layers inside my preview range in order to create a seamless loop. Also, you can see if I hit you on the keyboard, there's not only one point where we have these two Ss are the exact position as the first frame. If I go backward again, there should be another point over here. This is another point where it's going to loop seamlessly. If I cut it from here, I can just hit in on the keyboard to cut it here as well. Basically, we have a couple loops inside my layers as animation. And I can cut it wherever I want, as long as the first and last frame are exactly the same, I just want to see in between these positions, I don't have anything else. Maybe this frame here, even if I cut it here, this is the exact same position with my two s. If I cut it here, it could, it could still be a good spot with a looping animation. The only issue would be, I think these S are good. The only issue would be there might not be enough time for my arrows to complete its animation within this short period of time. So I want to include maybe two loops with my looping animation around here N. I can allow my arrows to animate within these two loops, and then I still have a complete themeless looping animation. I hope that makes sense. I can show you another example. Let's see another example here. Here is another example. This is the animation that we're going to work on in the next video. However, we can use this as a example for our looping animation. First we need to pull up the ruler command R to show the rulers. And then I need to find my starting position. I just want to make sure I find a place where all my letters are starting to animate on. Let's see if this is a good place around eight frames. I just drag a ruler to see where my first letter P is. And then I need to drag a ruler to make sure we mark down the position for the Y. That's good. And then we can be on the keyboard to set the preview range here. Let's go forward, make sure we can maybe allow it to play for two loops. And then we'll find a place where we have the at the exact position around here. This is the exact position of my first letter and the y. Let's hit in on the keyboard. Let's see if I play over here. If it's going to be a seamless loop. Yeah, I think that makes sense. I think that works. Now at the first frame we have the P and the Y, and then the last frame we have the P and the Y in the exact same position. That's how we create a seamless loop. I also need to make sure all my stars are animating within this preview range at the start. Although in my timeline you can see the layer extending out, but nothing is animated on yet. So I don't have to worry about it that much. If I toggle the keyframe, this is a starting point where the first star is animating on. It's already within my preview range. That works. And then I need to make sure the last star is not going outside of my ending point here. I think that works as well. That can please our similar loop. If I play it, this is what it looks like. It's just going to keep looping continuously. All right, that's it with this video, hope you get an idea of how to create a similar loop with our typography animation. Let's go start animating this party text in the next video. 9. Party: Welcome back. In this lesson, we're going to animate this word, party. Work hard. Play hard when life is hard. Don't forget to party. As you can see, we already have this design laid out in Illustrator. We can take a screenshot of the color palette for now, and then we're going to build the text inside After effects. Now let's go back to After effects. Let's create a new composition, name this one main comp, and then change the dimension to 1080 by 108030 frames per second. And then duration will be ten second. Click on okay. Now we have our after effects file. Now let's go to type tool, Typing our word Party That Looks good. And then in this lesson, we're going to use the font rock grotesque. Let's change it to a heavy weight. Make sure the vertical scale is at 100% Everything is back to default. We only need this one layer of font for now. In this lesson, remember we talked about some of the style when we animate, we have to change the editible text into a pass so that we can manipulate the past to do the morphing. In this lesson, we don't have to make an outline of our text so that after we animated everything, we can still change the text into whatever copy that we want to say here. So that's one advantage that we have if we don't outline our text. Now we have our party word here. We're just going to drop it down. Let me zoom out. We're going to go to my Align tab and then center Align It. I also want to zoom in again to make sure my anchor point is all the way down. Let's click on this pen behind to drag my anchor points. Make sure it's aligning to the center of my text. And then drop it all the way down, just over to the edge over here. In terms of the animation, I only want to deal with one property in this lesson, which is a scale property. Once we drop the anchor point down, let's turn on the scale property. As on the keyboard, if I make the scale larger, it's going to enlarge our copy, right? So this is going to be essentially the animation that we want, making this party line bigger and smaller. Let's put it back to 100% I just want to see if I change this text all the way up. Is this big enough to occupy the whole space? I feel like I want this text to be right around here when it goes bigger. In that case, I might need to drop this anchor point even further down. Maybe over here, let's say I have 270% around this here and then change it back to 100% or even smaller. We can make it even smaller, maybe like 50% so that the party line is way down there. I think that works from 50% to 300% Yeah, that works. Essentially. That's our animation. First of all, what I want to do is I want to go to import my color palette that I already took a screenshot of. Make sure I have my color palette here and then go to layer new solid. Let's sample this yellow color as a background for the text. I want to go to character, make sure we have a white fill and a black outline that looks pretty good. We can hide the color palette for now. Now we can animate the party line at 0 seconds. Let me pull it down, zoom it up at zero second. I want the scale to be maybe 60% Yeah, that looks pretty cool. With my anchor point down there, I can set a key frame on the scale property. Go forward 25 frames, click 121-23-4525 frames. Now I can zoom it all the way up to 250 or may be 300. Yeah, I think I like how it is right now. That looks pretty good. And then let's go to move forward another 25 frames. And then copy the first scale keyframe to make a loop so that this is our animation, go up and down. Let's duplicate the three layers again to make it two loops. Go up and down and up and down. Now that looks pretty good. I like that animation. That's basically the keyframe that we need. And then now we need to manipulate the easing to give it more energy. In terms of the animation. Select all keyframes, right? Click keyframe assistant, easy ease. Go to the graph editor. The way we want to edit the graph. First of all, we need to make sure click on the second button. Edit Speed Graph. We're inside the speed graph. Let's say this button fit graph to view. To make it bigger, we want to have a bouncing animation. Which means in terms of a bounce, whenever a bounce happened. Or a ball bounce all the way up to the air, whenever it reaches the tallest or highest point, it's going to be where the speed is the lowest for a bounce over here. At this point, the graph should be almost flat, as flat as it can be, so that we can achieve a bounce curve. And at this point, it's losing all the speed. At the beginning, I wanted to hit the ground with energy, so I need to pull this handle all the way back in to have a curve where we have some speed at the beginning. And then slowly, this energy is going to go away. As the curve is flattened, we have the energy going away. And then when it drops, it's going to slowly speeding up. Again, this is the curve that we need in terms of a bouncing animation. We just drag this handle here. These two loop, the curve is going to be identical. So we're going to pull this one all the way up and then drag this curve back a bit. We have some speed at the beginning, slowly dissipate towards the highest point. The speed is going to become zero. And then when it drops, it's going to slowly speeding up again. And then when it hits the ground, it's going to get some energy back. This is the graph that we need. We also want to make sure these tallest points are around the same height so that we get the same energy. Let's see, the animation when we adjusted the graph. Yeah, we already have some bounce to it. I think that looks pretty nice. I just need to duplicate this keyframe one more time so that we have four bounces. Let's command C and then make sure the timeline indicator is over here. Command V, Now we have four bounces, 1234 it. Now we have our animation ready. We just need to do one more thing before we duplicate it to a different color. I want to select the text and then go to character setting. I want to reduce the tracking a bit more. Maybe change it to negative 50. I can also adjust individual ones, maybe these two. I'll just use my keyboard shortcut option, left arrow to move these closer. Then move this one out a little bit. Move this one closer just to adjust the tracking. Now we have a party tech that's close to each other. With tight tracking now we just need to separate each letter on its own layer so that we can offset the animation. Let's go to pull up my plug in in window decomposed text. And then with the party layer selected, we can decompose it. So that after we click on the decomposed text, we're going to have each letter on its own layer. And this party layer is turned off its visibility. We can shy this one with our shy layer. If you get a arrow in the decomposed text, it's because if I click on this text tool, and then if I drag a bounding box and type in the word party. After I have this party layer selected, I can click on the decomposed text. However, it's not going to work, it's going to give me an error set. Paragraph text is not supported. What is a paragraph text? A paragraph text is when you click on the type tool and then you drag a bounding box first and then type in the text layer after that's a paragraph text. However, in order for the decomposed text to work, you need to click on this type tool and then click on the screen one time. And you see there's an empty text layer. Now if you type in the word party, don't drag out any of the bounding box, just click on the screen here. Type in the word party. Now if you click on decomposed text, it's going to work. So if it's giving you an arrow, it's because you drag out a bounding box when you type in the text, which is going to give you an error message in the decomposed text. Back to our lesson. Now we have the party ready. I just need to hit you on the keyboard. Show all the key frames I need to offset each key frame. Let's say the P is going to be the first letter that comes up. I was offset by one frame. Go for one frame, and then we can drag all these key frames forward by one frame that our letters are go up one at a time. Let's see what it looks like. Yeah, that looks pretty good. That's all I need. Let's select all the letters command shift C. Let's call this one party animation. Now we have one batch of party animation command D. Let's first duplicate it one time. We just need to turn on our color palette and move it to the side. Now for the second, I'll go to my effects and precess, search for fill color. Then for the second color, I'll change it to this pink color. I also need an outline. So I'll achieve the outline through the layer style. Right click, Go to layer style at a stroke. Let's go inside the stroke. Let's change the stroke to maybe one and then change the color to a black color. It's going to be a black stroke. And then put this purple one back. Now let's duplicate this pink layer again. And put it underneath, change this color to this red color. And then duplicate it again. Put it underneath, change it to the purple. And then duplicate again, put it underneath, change it to the dark purple. Now we have all these colors behind my white color. Now I just need to offset the layers. Let's turn off the color palette. Go forward one frame, offset the layers, hate the life square bracket to offset the layers. And go forward one frame again, offset this layer. And go one frame, offset this layer and then go one frame again, offset this layer. Now we have all these layers offset by one frame. Let's take a look at the animation. Now we just need to complete this piece with some secondary animation, maybe some starts. Let's add in the stars animation. I have it under the star animation folder. I'm using the star animation two with a bunch of duplication. Now this is a full animation. All right, that's it with the party animation. I'll see you in the next video. 10. Like: Welcome back. In this class we're going to animate this word. Like we already talked about three different ways to animate text in the previous lessons. If you like the class so far, don't forget to leave a review under the class. It will help this class to reach more students who like to learn this kind of animation. And it'll be really appreciated. Now let's get into this lesson. We have this type laid out in Illustrator. The font we're using is called rock grotesque. And this bold one is a condensed black, and the thin one is just a thin, tight fasis. The reason we're using rock rotesque that it's a really big family. It's got all these different thicknesses, different weights so that we can manipulate and morph between each one. You can also choose the different type pass, but I recommend something that has a lot of different variations so that you can transform or morph between those variations. We also talked about how to use the plugging overload, as well as how to transfer file from Illustrator to after effects. In this lesson, in order to save some time, I'll just use the plugging overload to push this letter to after effects. Let's go inside After Effects, create a new composition, name this one main comp and change the dimension to 1080 by 108030 frames per second. Duration is going to be ten second click. Okay, we have our composition. Let's go back to Illustrator. We can also type in the text in after effects, but to save some time, let's go push this one skew at one letter by one letter. Now we have one. And then go back, push the K, push the E, that looks good. And then let's ungroup it. And then I'll push one by one. I'll push the L first, and then the I, and then the K and then the. That looks good. Now we have the path information of all these letters. Let me create a background layer, new solid. We just need a pure black background that should work. Drop it all the way to the bottom. Now we just need to animate the path property to morph between the different thicknesses for each letter. If we're not using the plug in overload, I'll just quickly show it. Let's hide everything here. Let's say if we have our own letter typed in in after effects, let's change it to condense black. Make it super big like this. If we're not using the plugging overload, what we can do is we can and then go to Create shapes from text. Now we would have the shape information for each letter, there are four letters inside. Let me delete this text layer. Now let's go inside and look at here, under the content, there are four letters and all we need to do is duplicate it three times. In the first layer, we can delete the three letters and leave only one letter inside. And then in the second layer, just delete the other three letters. In the third layer, let's delete the L, I, and E. And then in the last layer, let's delete the first three letters. Now we would have four different letters on its own individual layer and each one is contained with path information. So that's how we do the path information without the plug in Overload, it's the same as using the overload plug in. But overload just makes it easier to transfer all these path information from Illustrator to after effects. Now let's turn our layers back on. We already have these path information. It's the same thing as what I demonstrated before. If you do it manually, now we just need to animate the morphing between the thicknesses. Let's select all the layer. Go to search for the path property. Make sure the timeline indicator is at zero second. Let's hit a stopwatch for all the path property. Now we have a keyframe for all the path. Now we just need to grab the first path information from the very L, which is layer five over here. Let's copy this path information command C, and then let's paste it inside the first letter, which is this big L here. Let's go forward 25 frames. Command shift right arrow, 1212345. Now we're at 25 frames. Select the path property command V. Paste it in. If I toggle the timeline, you can see this path is transforming from this very long one to the short one. That looks good. And now let's select the I, or you can do the E, since we have it selected, let's copy the key frame under the path command C. And then let's go search for the bigger E here, which is this one. And then click on the path property. Make sure you click on this property before you past the keyframe command V. Let's do the K here, command C to copy. Let's find the K, this one. And then command V. Then the last one would be the I, this one. Let's go copy the key frame and then go to the letter, this one. Click on the path V. Now we can just turn off these four letters, which is the original one that doesn't have any animation. Let's turn off the visibility. And then we can click on the Shy button and click on all the layers. Now if I play this animation, this is what I get. I get a morphing between the two different thickness of the four letters. Essentially, that's the animation. That's very basic animation for this movements. And then let's hit you on the keyboard. We're just going to go forward another 25 frames, 1212345. Now copy the first keyframe so that we complete one loop. Everything is going back to the original states, and we have this one loop here. Now we just duplicate the key frame again to make sure we got two loops. Now if I play the animation, this is the movement we get before we continue. I also want to start the animation with the thin type faces first instead of from the thick one. All I want to do is I want to cut these layers, select everything option left square brackets. And then we can move everything to zero second all the layers so that it's starting with the thin fonts. And now we're missing one key frame at the very end. So we're going to go forward 25 frames again, and then copy the first ever key frame onto each layer so that we can plead two loops. And it's coming back to the thin type faces now that I have all the key frames, select everything. Red click, Keyframe assistant, easy ease. And then let's go to the graph editor. Let's hit this thick graph to view. And also click on this button to make sure we're in the speed graph. In terms of the animation, what I want to do is a bouncing animation. Bouncing curve that we talked about in the previous license. Remember when we have the party animation, we did a bounce at the highest point, which is this point here in the timeline. I want this animation to hang there so that I can drag these curves just to make sure I'm dragging this curve all the way out. And then the speed is going to become zero almost. The curve is going to be as flat as possible for the first curve, I'm just going to drag the handle back. In terms of influence, I want to change this influence to maybe 90% of influence. You see that influence number? When I drag the handle over here, I'll give it 90% of influence and then drag the first handle all the way to the left. Let's do another 90% of influence over here so that it's balanced over here. I need to marquee, select this because there's four different layers with four different letters and there are some key frames over here. So I need to marque, pull this handle back, maybe two, 15% and then marquee, select again, do the same thing, move this handle all the way back and then change the influence over here to around 90% This one could be 90% as well. And then the last one is going to be the same, around 15% of influence since it's to loop. So these curves should be identical. And this is a type of bouncing curve that we need. Let's see what the animation looks like with this type of curve. That's pretty nice. It's almost like a bounce, You see that? I feel like the animation is a bit slow. Let me try to move these keyframes closer, select everything It option and the keyboard. And then just drag the last keyframe so that we can manipulate the spacing between all these keyframes to make it go slower or faster. In this case, I want it to be faster, so just move everything inside to be closer. I think it looks pretty good. Now, I can just maybe copy these key frame one more time to give them four loops instead of two loops. Now it's going to do four loops. Now that's good, and the next thing I want to do is to add some opacity change to make the letter flicker a bit. Let's go to the first letter. Hit shift on the keyboard to pull up the opacity. And then let's go from 100% maybe go forward five frames, 12345, change to 85% and then go forward five frames again 12345, change it back to 100% 12345, and then let's change it to 85% We have almost like a flicker to it. And then we can add an expression to loop out this animation. Let's hold option on the keyboard. Hit the stopwatch, adding an expression called loop out. Then the brackets hit return. Now after we add in the loopout expression, this is what we get. We get this constant flicker for this letter. I think that works. Next, I just want to copy the keyframes and do the same thing for the other three letters. Select all three, go to zero second with the timeline indicator command V. Hit you on the keyboard to show the keyframe. And then I just need to copy this expression command C and then go to add it onto these three letters. Hold down option. And then click on the stopwatch to open the expression field and then paste in the expression. Now we have all of these three letters flickering. I think that looks good. And next thing I just want to offset the key frames maybe by two frames. Go to zero. Second command, click for 2 seconds and then I'm going to offset these keyframes, go forward two second again, offset the keyframes go forward two second again, offset the keyframes. Now I just realized the problem. Remember when we copy the first two set of key frames into four sets? I remember we didn't modify the curve for the last keyframe. If I go inside these keyframes, if I go take a look at the graph editor within the keyframe, and remember this is the end, this is the last keyframe where we had in the first animation and we just basically did a copy to get another two sets. However, the influence in here is not correct and it's not consistent. So I need to adjust the influence over here as well to make this part around 15% And now we should have a consistent curve throughout the entire animation. Let's copy these influences. Select everything, go to easy copy. Copy, and then paste the Easing onto this set of key frame. Click on this As, then go to this one, click on the S. Now I'm just copying everything to these three different letters. Now let's take a look and see if the animation is consistent. Yeah, now it's much more consistent when the second loop ends, coming into the third loop, that looks pretty good. Now the next thing you want to add is to add some secondary animation, maybe some stars like the previous lessons. I already have my stars inside the project panel. It's star animation number one. And once I add it in, it's just going to randomly appear in some kind of stars. I think that looks pretty cool. And now let's add in a glow effect as well. Go to layer adjustment layer. Let's change the name to glow. And let's go inside the effects and process and select the plug in. Deep glow, Deep glow is not free as well, but I just want to demonstrate what it looks like. You don't have to use it if you don't have it. But once I drop it in, you can see it looks really premium. And it gives this nice glow, maybe too much. Let's change it 2.5 and then tone down the radius, Maybe 400. Let's just give it a very subtle and nice glow effect over here. Let's change the input threshold. Maybe no, Yeah, and this is what it looks like with the deep globe plug in. Other than the deep glow, I also want to change the color on these letters. Let's go to add another effect, hue and saturation onto this adjustment layer. I just want to, from the start, hit the channel range, hit you on the keyboard, and then maybe go to around 4 seconds. Let's change the channel to make it go, maybe one round. Now we have a color information changes throughout the whole animation. Let's see what it looks like with the color changes. That looks pretty cool. I like how it looks, but I think the animation is lacking a bit of energy. I still maybe want to try to make these keyframes closer, only the path properties. To make these keyframes closer, I have to select everything hold down option and then select the last keyframe. Just strike everything inside like this. Yeah, that's much better if we want to find a place where it can loop. Maybe starting from this frame here on the keyboard, this is the end place. May be hit in and we need to make sure the channel range keyframe is within this looping period. Let's see what it looks like with the loop. Yeah, that's going to be a perfect loop. That looks pretty nice. Let's say with this lesson, hope you like it. And I'll see you in the next video. 11. Thanks: Welcome back. In this lesson we're going to animate this word. Thanks. We all have many people to thank to in our lives. For me, I'd like to thank you for taking this class and choosing me to be your instructor. I really appreciate your time to be here with me learning these animation techniques. So I want to say thanks in an animated way, just like this animation here. First of all, let's go back to illustrator. This is our storyboard. The type face I'm using is rock grotesque. Again, I like to use this family because it's got a huge variation, right? Right now I'm using this black fonts and in this animation we want to do something more like a fake three D. It's got some width to each letter and it's very simple to set up. We just make a copy of this one and then let's outline it. Chmift, we can outline this one again. And then let's just change the color of each letter. Ungroup it, Chmiift to ungroup the letters. Now I can just sample these colors. You can choose whatever color you like to make your own animation on a unique word. I'm just showing you how we can do this. Thanks. Now I can just put this one underneath the letter and just move everything to the right so that we can see a thickness behind each letter. Now I can group each letter and the shadow together. Maybe drop this key on top and then move them closer, and then drop this a back like this. Just staggering these letters. So that we can create a depth like this. If you want to arrange it this way, it can be something similar to my left, this board here. And that's how we set up the Illustrator file for this animation. Since we already know how to use overload, I want to review in this lesson how we can transfer the file from Illustrator to after effects without a plug in. Let's review that again. We can use this one as an example. I don't need the shadow anymore because I can create the shadow later in after effects. Right now, I'm just going to select all the shadows and delete the shadow. I'll drop this one over here so that it's not within my R board. And let me delete this R board so that I only have one R Board to work with. Listing here is just for demonstration purposes, but in order to transfer file from Illustrator to after effects without the plug in, this is what we do. Let's go to the Layer panel and then go to this drop down menu. Click on Release to Layer Sequence. Now it's going to expand everything that's underneath layer one. We just need to select everything that's underneath layer one and then drop them outside of layer one, so that each one is having its own layer. And then we can delete layer one since it's empty. Now this is all the layer that we have that's separated from our command here, release two layers. Now we have everything separated when we import this illustrator file into after effects, everything will be on its separate layer. Let's save this Illustrator file command S, and then let's open after effects, create a new composition. Call this one main comp. Then we can do 1080 by 108030 frames per second. Duration can be 10 seconds. Click on, okay, just go to Project. Now we can import the Illustrator file. Double click on the Project panel, and then navigate to the storyboard over here. Make sure we select composition retained layer sizes. And make sure we don't select the Illustrator sequence. It's going to cause a problem. If you check this mark here, make sure it's unchecked and click on open. Now if I go inside the thanks composition, we got all these layers. Let's copy everything. Move to my main composition. Next thing we just need to group these together. For each letter is having a letter in the front and then there's a shadow or the thickness. We need to group them together. Command shift C to group this here. And then these two are the group it. Then then the N, then the K. And then the, the last one is the background. Now we have all these letters imported into after effects. Now we can start animating these now. First of all, I want to align them. Let's hit command R for the ruler. And then let's drop a guideline over here. That looks good. I just want to align everything. Drop the down, and then drop the Ok. And then the S. We can move everything up a little bit. Now first of all, what I want to do is I need to move the anchor point to each letter on the base line of each letter for the, the anchor point in the center of the key. Let's hit the pen behind to drop this anchor point at the bottom of the T. And then for the H, do the same thing for the same thing, drop the anchor point to the baseline of each letter. Now that works. And then let's select everything P on the keyboard. Now we can add a key frame. What we want to do is we want to do a bounce animation, right? Go forward. Maybe 20 frames can shift, right arrow, 20 frames. And now we want everything to drop down. Maybe around here, the highest point. I want them to jump all the way to here. And then this is the lowest point. Let's go forward 20 frames again. And then we can copy the initial key frame to go back to the initial position. Now I'm thinking about it. I should start with the letters on the ground. Let me delete the first key frame, and then let me move everything to zero. Second, I'm starting with the letters on the ground. So that they can jump up and then go 420 frames. Now I can paste in the initial key frame. Again they just land on the ground. After I have all these keyframes, click Keyframe assistant, Easy East. Go to the graph editor, hit the thick graph to view, and then make sure we're inside the speed graph with the second button here. That's good. Maybe pull it here. When it's jumping up and down, I want to make sure one is at the tallest point, the highest point. This is where the speed is going to die down. We're going to have a flatter curve around this area here. Then for the initial touching the ground, the curve is going to be more steep, like this. So I'm going to drag all the handles of the two side all the way back. And then the middle handle, it's going to all the way extend it outside. It's flatter curve at the highest point and then a steep curve on both sides. Let's see the animation. I don't have another set of keyframe yet, so I need to duplicate V three key frame again to make another set. So that we can have a bounce. Let me just come duplicate it, that's going to be one bounce. There's still some issue with the curve. Let's select everything. Go to the graph editor. I can see over here, it's not symmetrical. There's some issue with the curve. I need to pull this handle all the way back to make sure it's gaining the same amount of speed at the bounce over here, so that it's perfectly symmetrical. And we get a bounce curve. Let's see the animation. Yeah, I like how it looks. Now maybe what I can do is select everything. Hit option on the keyboard. Move them inside a bit more so that it's got more energy On the bounce. Yeah, I like that. Now I just need to duplicate the keyframe. Let's duplicate that to add two more bounds, 123. Now we have three bounces, 123. I feel like the place where we copy the key frame is having issue again. Let's select everything, go inside. You see this curve over here? This point, it's got a weird curve on the left hand side that's not symmetrical. What we need to do is we need to make select anchor point and then we need to drag this curve all the way back like this. That is symmetrical. Again, everything is consistent, the speed is consistent. Let's take a look. Yeah, I think that works. And then the next thing we're going to do is we just need to offset the key frame so that each letter is coming down at a different time. Let's have the come down first, and then we're going to have come down second. Go forward one frames, or maybe two frames. Let's try two frames offsets. And then we're going to have the H12 1212. Then want to, let's see if that works. That might be too much. I think I would maybe prefer one frame of offsets. Let's do one frame instead. I just need to move everything back so that there are one frame offset apart. Go for one frame. Yeah, I like that. That looks pretty good. Now the last thing you want to do is to do a color variation on top of everything. So let's go to a layer new and then create adjustment layer. Let's go to effects and presets, search for hue saturation. Then we're going to do the same thing as we did before. Hit a keyframe on the channel range, Hit you on the keyboard, go to seconds, or we can find a place where it loops. Let's say this part here, Make sure my first keyframe is aligned with the looping first frame. And then we're going to find another point where loops maybe here hit and then I'm going to change the channel range to one round so that it's changing color. Let's see, the loop that we have. Yeah, I think it works. Let's zoom in, take a look. Now, the last thing we want to do is to add a bit more character to our letters. What we can do is we can squash and stretches. When it hits the ground, it can squash a little bit. And then it's going to add some character to our letters. Let's everything as on the keyboard. Hit Shift. Let me show all the key frames. Let's animate the first, which is our first letter. I just want to manipulate the y, y position scale. Let's unlock this property here. And then at the beginning, when it's on the ground, I want to change the scale to maybe 75% That might be too much, but we can try it. And then maybe after three frames, 123, it's going to go back to 100% Then when it hits the ground again, before it hits, right when it hits it's going to be 75. But before it hits three frames earlier, 123, it should be at 100% Then go for three frames again, 123, and then it goes back to 100 again. It's going to be something like this one hit 75, and then after three frames becomes 100 again. Let's go to Keyframe Assistant. We can also easily add some velocity from this keyframe velocity tab over here. Let me just change it to 66 as a standard easing, let me copy these three key frames. Paste it in here. Move the impact, the middle frame to align with my impact. And then over here, move the middle frame here. Let's see what it looks like. Now it's adding some squashes to my letter. Now I can just duplicate all these keyframes, Come and see, and then go to the next letter. Make sure we unlock the scaling, and then let me find the position of the impact over here. And then make sure we align them with the middle key frame. Go to the next one. Align the middle key frame over here like this. Then unlock the scale. Align in here. And then the last one here, a line in here. Let's see what it looks like. If it makes a difference, Yeah, you can tell it's got some squash and stretches when it goes down, hitting the ground. I think that's good enough. If we slow down the animation, it's going to look more obvious, but I don't want to slow down the animation for now. Now the last thing we want to do is to add some shadows underneath this text gear. Let's select everything, group them together. Let's call this one things animation. Then let's duplicate it. Go to Effects and precess, search for a process called fill. Then let's change it to this blue color. And then we can make it a little bit different from this blue here. Move it down, and then we can offset the position property. It's not that visible. Let's make it darker. That looks pretty good. Let's see what it looks like now. Yeah, I think that works. There you go. This is our final animation for the. Thanks. That's it with this video. I'll see you in the next one. 12. Become Motion Insiders: Before we continue, I want to share with you an exciting news. Motion design courses just became more affordable at motion circles. With our motion insider membership for as low as $7 a month, you will get unlimited access to our top tier motion design courses, trusted by over 50,000 students worldwide. Time to elevate your motion design skills to become the best animators you can be. As an insider, you will also receive complimentary project files from all of our Motion Circles YouTube tutorials. And enjoy an exclusive 25% discount on all the other incredible animation projects from other artists in our project file shop. Don't miss out on this opportunity to level up your animation skills while becoming part of our vibrant community. Join us today at motion circles.com and unleash your creative potential. 13. Follow: Welcome back to this lesson. In this lesson, I'm going to animate the word follow. If you don't already know, we also have a Youtube channel that shares everything animation. From there, you will learn all kinds of tips and tricks and techniques about after effects animation. So make sure to follow us at motion circles on Youtube. Here is our storyboard for this lesson. We got the word follow. This is a typha that I found from Phon.com This is a free resource that you can use for all kinds of typhaces and there's different categories. This is the phone that I found here that's called Andres, and this is the one that we're going to use to animate in this lesson. For the color palette, let me just take a screenshot of my color palette. And let's go to after effects, Create a new composition. Name this one main comp, 1080 by 108030 frames per second, 10 seconds. Now let's import our color palate here, make it smaller. Let me go to new solids. Create a background, same as a pink color, drop it locket. Now we can go to the type tool. Let's type in the word follow. Then let's go to character. Change the typhase to make it smaller. We can make everything capitalized so that they have a similar height for each word. I also want to increase the letting a little bit. That's the word that we have here, looks pretty good. I just want to make sure this percentage here is back to 100% Because I'm going to animate the path property of this letter. I might need to make it bigger. I feel like this word is not big enough. This is how big I want to make this work to be around here. Let me hide the color palettes in terms of the animation. We want to separate each letter into its own layer. To do that, we can use a plug in that we had before, go to Windows and then go to decompose text. Hit this, decompose, if you're getting an error message for the decomposed text, go back to the lesson where we talk about how to animate party. In that video, I talked about how to solve the arrow message on this plug in If you're getting it when you hit the button. Just make sure to go back and watch that again. If you're getting error messages now we have these letters separated. I can delete this follow line here. What we need to do is we need to convert each letter into path relic create shapes from text. That's what we want to do. We want to create shapes for each letter. Now we can select all the letter and then hit the Shy button. Hit the Shy button over here to hide them. Now we have everything that's outlined. However, if I toggle inside each letter, the outline, you can see all these letters still exist. It's because of the decomposed text plug in that we used. It's still saving all these other information. All we need to do is to delete all the other letters that's inside the contents of my layer so that I don't get confused of which letter we're animating. I'm just going through this one by one. Go to content and then save the old here. The last one would be, delete everything that is above the W. That's good. Okay, that's good. And then next, we need to animate the path property of these letters. Select everything, search for path, and then hit the stopwatch to add a keyframe on all the letters. That's good, This is my original position. Let's go for 20 frames. Command shift, red arrow. Let's make sure we draw a ruler so that we know where we want to stop. At the highest point of the letter. Maybe around here. If I animate, go, select the path property of this W and I'll drag the path all the way up. I'm going to do the same thing for all these letters. To drag these path all the way up to align with my guideline. This. Then I'm going to shoot this one up and then drag this one down, maybe around here that works. Let's see the animation, That's our animation, that looks pretty good. Let's go for 20 frames, again, 12. And then we can copy the original key frame that it goes back to the original position. And we can complete one loop of the animation here. Now there's one loop. Go up and down, go up and down. And we still need to copy these three key frames. And duplicate one more time. Come in duplicate. After this duplicate, we're going to animate the easing for the keyframes. Select everything, Re, click, go to keyframe assistant at the end, easy ease. Go to the graph editor. I want to do this bounce curve again, make sure we're inside the speed graph. Drag this slider to make it bigger. I want to a bouncing ease like the previous animation where we have everything just flats. One is at the top and then goes down with some speed and force so that we can have a bouncing animation, a curve like this. Everything when it goes up is going to slow down. And then when it drops, it's going to speed up. Let's see what it looks like. Yeah, I think that might work. I just feel like this part, when it bounces, it's at the end of the bounce. When it hits, it might be too aggressive. I want to give this easing over here a little bit of wiggle room, select everything, drag this curve out a little bit and then drag this curve out a little bit. It's not that aggressive. Let's try if that works. Yeah, I think that works better. Let's strike this curve to form a shape like this. Over here, you can see the influence number is around 15% This part, I'm going to give it 15% as well. In terms of this one, I'm going to give it a 95% of influence. And this one I'm going to drag it back to 95% I also need to make sure, because I'm manipulating the curve on all these different layers, I need to make sure I'm marquee selecting the handle because each handle consists multiple layers. If I only click on this one, I might only click on one layer which is going to mess up my curves. Yeah, I think that works. I just need to duplicate all these key frames again at the end to give it a couple more loops. Every time I duplicate, I need to fix a curve where my timeline right now is just go inside. Let's see the curve over here. I need to drag it back maybe 15% of influence. That's the animation I want. In this case, you see one, it, it at the end, it's not that aggressive. Another thing I can try is I might be able to, let's say from the start. What if I pushed it down even further? Let's drag a line over here. And then at the beginning, I can drag everything even like this. Move the path so that everything down like this. And that's our starting position. If I do the same thing for this frame here like this, I think I like this better. Now, I can just copy this keyframe and then add it whenever it hits the bottom over here. I'm just copying these two keyframes. And then replace where the letter comes down so that we have the new set of positions for the past property. Like this, that looks pretty good. All right, that's our animation. It looks pretty smooth. I like how it looks good. Now what we need to do is I need to offset the keyframe. Hit you on the keyboard. Make sure it's offset by maybe one frame or two frames. Let's try two frames. We're going to offset these keyframes by two frames. Let's see, the animation. Yeah, that looks pretty good. That's all we need in terms of the basic animation set up. Now we can combine these layers. Call this one follow animation. Now we can duplicate it and add some colors based on our color palettes. For the first duplicate added to this color, the next one would be this pink color, and then the next one would be this darker purple. Then the last one would be this color here. Other than the color, we also need to add some stroke. Go to the second duplicate. Let's go to Layer Styles and add a stroke in terms of the stroke. I'm going to change it to a black stroke, give three pixels. Let's see if three pixels work. And then after we have this layer style, we can copy this one command C and paste it onto the other layers. Now each layer is going to have a layer style with strokes. I'm going to move the white one all the way to the top. And then it's just going to change the order of these. Now let's hide this one. We can see all these colors, one behind another. That's good. We can delete the color palette. Now, next thing, we just need to offset the position for each one. Let's go to the second one and offset it to the right, maybe 123455 pixels. And then this one will be 10 123-451-2345 I'll be ten pixels. And then 123-451-2345 This one will be 15 pixels, and then this will be 20 pixels. Now we have these offsets. The next thing I also want to do offset on the timing, Not only in the position but also the timing. Let's try a one frame offset. Left square brackets offset one frame. There's one offset, one frame. Each layer is offset by one frame. Let's see, the animation. I think the animation itself works just I feel like all these letters are so crammed together. So what I want to do is I want to spread them out a little bit. Let's go inside. And then maybe let's give it some space. Let's change this one to the left. I'm just going to space out these letters a little bit so that they're not feeling too crowded outside from the outside composition, right? I'm just going to space these out. I think that works. Let's go back and see what it looks like. The stroke might be too thick. I'm going to change it back to one pixels. Then I'm going to change all the stroke to just one pixels instead of three. Now I think it looks much better. It's not that heavy anymore. It looks a lot lighter. I think I like how it looks now. Now I've created a loop over here with my preview range. That's it with this animation for the word follow. I'll see you in the next video. 14. Relax: Welcome back to this lesson. In this lesson, we're going to animate the word, relax. Sometimes the most productive thing you can do is relax in this lesson. Just relax and watch me work on this animation. And need to manipulate the shape of this text with an illustrator. And then transfer the shape to after effects and work on the animation. First what we want to do is we're going to save this copy and then duplicate another one on the side. Let me just create a big block here as a background. And then I'm going to duplicate it three times. We have three different shapes for the same word. And then for the first one, I want to go to Effects. And let's go to Warp. And then we can go to the Arc property. In this Warp option, if you click on this drop down menu, we have all these different shapes that we can distort. Our type two, we can do the Arc, and then we can also change the setting in order to manipulate the shape even more and distort it the way we want it. In this case, let's try to make this one into a squeeze. For the first one, I like the squeeze better, so I'm going to go distort the band even more, maybe 53% And then I can even change the horizontal vertical distortion as well. But for now, I think it's good to have it symmetrical like this to be squeezed in the center over there. I like how this one looks. I'm going to click on okay, and save it as this for now. And then for the second one, let's go to Effects and warp it again. For the second one, I might want to use this arc option here. And then I can probably create something if I put everything into neutral position the band, maybe let's change it to 16. And then let's do a horizontal all the way to 80% It's going to make our type into this shape like this. Then if I want to do the vertical, I think it might be too much to change the vertical, so let's keep it 80% And then vertical will be zero and then the band will be something like this. I think that works for me. That's my second shape. And then the last one, let's go to warp it again. We can also explore all these different options. This is a bulge option that's almost the opposite to this squeeze. Everything is rounded on the side. Then we also have these ones, the shell lower and the shell upper. You can also do a flag. There's also a wave. I think I like the wave. Maybe I can try the wave and this is a fish shape. The fish doesn't look so well, it's hard to read. And then we have this rise and then the fish eye. You can explore these different options yourself. But I think what I'm going to use is I'm going to use this flag and then I'm going tone down the distortion a bit. But I think what I'm going to use is I will use a wave option and then I'm going to try to do it on the other side. Just the opposite as this previous one that we did. And then we can try to do something like this. I think that works for me. Let's click on, okay, now we have all these four options as my final distorted shape of this relaxed type faces. Then for now, I think I will just put this one here. Put this one here. In terms of the animation, we're going to animate this one first, and then this 1 second, third, and fourth. Now that I have all these shapes distorted, I'm going to just put them onto my board. Delete this one. I also want to put these three color onto my R board. Remember how we talked about how to prepare the Illustrator file before animation? And we're going to do that now in this project, let's go to Layers. And then click on this drop down menu. Click on Release to Layer sequence. We need to select everything and then drop everything outside of layer one. Delete layer one. And now that we have all these shapes separated in Illustrator, let's click on Save Command. Now let's create a project in after effects. Click on New Composition Name this one main comp, change the dimension to 1080 by 108030 frames per second. Duration is going to be ten second. Click on Okay. We can import our Illustrator file. Go to Relax. Make sure the import as is set to composition, retain layer sizes and uncheck this illustrator sequence. Leave it unchecked, and click open. Now let's go inside this relaxed composition. Let's copy all the layers and then paste it into the main composition. The first three layers are the color palette. I can turn it off for now. Other than the color palette, we have these four layers that represent four different shape of our text that we imported from Illustrator. Now we can animate the first one. First, let's sit on the keyboard to pull up the scale property. Now in terms of the animation, I want to animate this text. 0-100% and maybe with a slight overshoot. So let's do that. Let's hit the stopwatch, and then add a keyframe. Change the scale to 0% Let's go forward 15 frames. Then let's change the scale to 110% And then let's go forward ten frames again, change the scale back to 100. And then let's go for ten frames again, change the scale back to zero. This is going to be our animation, 0-110% It's going to hover around 100% and then stay there for ten frames before it shrinks down to zero again and disappear. Now let's select all the keyframes. Go to Rec click Keyframe Assistant, easy as the graph editor. Make sure we're inside the speed graph. We're just going to change the influence of this curve maybe to 90% over here on the right hand side. And then change this one to say we can do a 25% over here. Let's just drag both sides towards the middle. Then this part, we're going to do 25% and a 90% of influence, almost symmetrical to what we had in the beginning. This is the curve that we get. Let's see the animation. That's the animation we want for this one text. Now what we can do is we can copy the key frame command C and then duplicate it onto all the other three layers, command V. We can turn them on. Let's hit you on the keyboard to show all the key frames. We don't want them to come out at the same time. So we can cut all these four layers. And then right click, Go to layer style, Go to keyframe assistance, Sequence layers. Click Okay. Now we're going to have all these layers in the sequence, one after another. However, I might also want to adjust the order. I don't want this one to be the second layer, I want this layer to be the second. I still need to manually change the layer order. Although I already did the sequencing layers, I'm going to use number six here, then this is the last one. I also want to tie these layers closer together. Let me go to click on this button and show the title Action Safe, so that I know where my center is. I just want to move my layer and my text right into the center. That's good. This is right in the center. And then when it disappears, I want this one to come in so that they're tied closer. This one, I'll move it here because the anchor point is not right in the center. I might want to change anchor point to the center here. When they disappear, I'll move this one here. This is the anchor point, looks good. Let's see the animation now. Yeah, I like how it looks. The next thing we want to do is we want to duplicate the layer two times and then add another two layers of details to each animation. To do that, let's go to the first layer command D two times and then let's set you on the keyboard. In terms of the animation, I think what I want to do is I want to move the first key frames forward. A couple frames for the second layer. And then for the title player, I move the key frame forward so that it's offset. Then what I want to do is to unlink the scale property. I want to change the X scale on the first keyframe to be 100% Same thing with this one to be 100% If I change the color, you will see what happens after my changes. Let me fill this one with a different color. We're going to fill this one with the green and then we're going to fill the top one with the purple. All right, let's see our animation for the first layer. Essentially what we did is that for the second layer, which is this green layer, we want this layer to come in at 100% X scale. So that we have this swipe animation, almost like a swipe from the center going towards both sides. This animation that we achieved from this keyframe here, that's the animation we want and we want to create the same animation for all the other layers. All right, that's how we want to achieve that. And then let's do the same thing for these other layers. Command D, duplicate and then hit you on the keyboard. Let's move it forward, maybe a couple of frames. And then let's go select both of these layers. Unlink the x and Y position in scale. And then let's change this one to 100% change this one to 100% Now we just need to change the color for this one. I don't want the color to be exactly same for all these different shapes. I want to alternate the colors since the first one has the blue, green and purple in this order. For this one, I'm going to change a different order. Probably purple, green to blue. I'm going to do purple as a bottom layer here. Let's copy this fill color then. The green could be in the second layer. Then blue could be the last layer which is already in blue. Let's see the animation now that we have some layer animating and then we also have the color changes as well. That's good. And then we're going to do the third layer over here. Duplicate it. Hit you on the keyboard. Show the keyframes, Move this one forward a little bit. Do an offset, and then unlink the scale property. Go to the first key frame. Change this one to 100% scale in X scale, and then this one to 100% in X as well. For this one, I want the top layer to be in green copy, and then I want the middle one to be in purple, the last one to be in blue. This is what we get. Yeah, I think that works for now. And then the last one we need to do, hit you on the keyboard, offset the key frame. The first key frame, I link the property, change the X scale to 100% then change the X scale to 100% Again, for the last one, I want the last layer to be in the green color. The middle one would be in purple, and then the last layer would be in green, and the top one would be in blue. That's all my animation. Let's take a look. Yeah, I think that looks pretty cool with that animation, let's select all the layers except for the background command, shift C. Call this one relax animation. We can delete the color pallet now, and then we can duplicate this layer, go to Effects and find this fine edges effect. And then let's invert the fine edges effect. We can make this fine edges effect, maybe keep it the same size. And then we can drop the original layer on top of the fine edges effect. Make this layer smaller like this. Then if I play the animation, now we have one extra layer of the edges with this neon color. If I go to add a glow effect, go to layer new adjustment layer. And then let's find deep glow put onto the adjustment layer. Tone it down to 250 and then 0.5 exposure. Let's see what it looks like now. Yeah, that looks pretty cool with the globe setting for that neon outline and the animation that we have. This is beautiful. There you go. That's how we animate the relaxed animation in this lesson. I'll see you in the next video. 15. Subscribe: Welcome back to this lesson. In this lesson, we're going to animate the word subscribe. I hope you are having a lot of fun learning these typography animations. Don't forget to subscribe to our Youtube channel to keep on top of industry trends and also learn different tips and tricks and techniques to improve your animation skills. I already have my subscriber designed in Illustrator. This is going to be serving as a guideline for our design. And we're going to go back to after effects to start creating this design Inside after effects, let's create a composition. Name this one to main comp. Change the dimension to 13, 50 by 1080. Frame rate. 30 frames per second duration. Ten second click. Okay, let me import our Illustrator file. Double click, Import Illustrator file, and then import as. Make sure here the setting is set to composition, retain layer sizes. And make sure to uncheck this illustrator sequence. Click on Open, Go inside. These are my three layers. We have smaller text and then this bigger one and then the background. Let's select this both small text here. Click Create Shapes from Vector Layer. And now we've created the outline for these letters. And then we're going to create shapes from vector layer with this larger text as well. Now we have two outlines, we can hide these original ones. We have two layers of outlines for these two word here. If I click the drop down menu, you can see each letter is broken down into its own group. Next thing, I just want to center these two groups here. Let's go to a line and then click on the center. Next, we can start animating the path property for these layers. Let's select both, and then search for the path property. Let's hit the stopwatch to add a keyframe on all the path properties under these two layers. That's all the key frames we need for all the path properties. We need to figure out which letter is which. For group one is starting from the back, group one is the letter E. Then the last group, group nine, is going to be the letter. Essentially what we need is to copy the key frame. Let's say the, let's copy the key frame under the path property of the bigger. Copy this one here, command C. And then let's go search for the smaller here. It could be the group nine. Yeah, it is a group nine. And then we need to paste it on here. But we need to move forward 20 frames. Command shift right aro, let's paste in the key frame. And then make sure we move this S to align with this position that we want. Now if I play the animation, you can see my S is animating from this original position of this bold and small version, all the way to this bigger and thin version. And that's how we do the animation between these two typefaces, two thicknesses. And we're going to do the same thing for each letter. Let me just find the second path property keyframe for the U, which is going to be the group eight here, this is the bigger U. And this is a key frame, we need command C and then paste it onto the path property under group eight, command B. Make sure to move this to align with the position that we need it. Next, let me find group seven. For group seven, we've got three key frames. We need to copy all three. Commancn. Let's go find group seven here. Make sure you click on the path property before you paste in the key frame commenV, then move it over here, number six here. Paste it in here, Move it here. Then we're going to have number five key frame command C go in here. Move it over here. Then for the B is going to be group four, command C, paste it in under group four, Move it over here, that's good. Group three here, command C, paste it in. Paste it in, move it here. Then the last two groups, which is group two, you've got three key frames on group two. Move it over here. Then the last group will be this keyframe for the past it in here. Now we can hide this layer because we got the animation on the other layer. Hit the Shy button. Let's see the animation for now. That's our morphing between the two states. I think that looks fine. And now we just need to copy the original key frame, all these first keyframe command, and then go for 20 frames. Paste it in so that we have one loop here. It's going big and small and small. Let's go inside the graph editor. Select everything, right. Click. Go to Keyframe assistant, easy ease. Go to the graph editor. We need to manipulate the graph like what we did before. Just drag the influence over here to maybe 95% Let's do 95% influence in the center. And then on the two sides, let's do 15% influence here. Let's change to 15% Let's play the animation. Yeah, in order to see the effect, we still need to duplicate these layers a couple more times. Command C and then duplicate. Duplicate again. So we have this bounces. Yeah, I think I like the animation. Let me duplicate again to have four loops here. In terms of animation, I like the energy. I like what it looks like. It should be fine. I just want to see what if I duplicate this layer. I'm going to maybe do something fancy here. Let me duplicate two times. Then you on the keyboard, we can start from the second key frame. We can cut the layer from here. Select the two duplicated keyframe option, left square bracket to cut it here. Then we're going to move the starting position of the two new layers over here. And then move this one down. Move this one up, so we have a layout like this. And then let's play the animation and see what it looks like. Okay, essentially what I want to do is I don't want the overlap that makes me a little dizzy. If this is the style you're going for, I think you're good to go. But for me, I think I can manipulate the curve even more to have a similar animation. I think what I need to do, hit you on the keyboard. Let me make the timeline bigger. Let me only adjust the first three set of keyframe. The first three keyframes on all these path properties go to the curve editor. Let me delete the rest of the keyframe so that it's not distracting. Let me delete this layer so that I only have one top layer to work with. Let me get all these key frames and then let me set it back to the original key frame, the linear key frame. And then re click keyframe assistant. Easy as Let's go adjust the curve like we did before. Try a 95% of influence here in the center on both sides, 95% of influence. Then we're going to do a 15% of influence at the beginning and the end that the animation actually matches with my first set of key frame or the first layer. Now they should have the same bounces. However, when they changes, it's just going to be one big and one small. Let me duplicate these layers four times, or three times 123, so that they match up with each other. And then now I can duplicate this first layer. Move it down so that it's occupying the whole space. Let me drag these layers down. Let's see the animation. Now, now we don't have the overlap anymore, so this is the animation we got. I think I like this better without the overlap and all the motions are similar, right? So another thing we can add is, what if we do some offset between these letters? Let's hit you on the keyboard. Let me see if I can do an offset. Let me try one frame offset. So let's go forward one frame, and then we're going to move this here. And then one frame for the letter B. We need to copy the three path properties in order to change one letter in this case. So I'm going to move these three sets here. And then go forward for S is one set and then go forward. For the C is going to be one set and go forward again. For the R, it's going to be two sets. And then for the I, let's go forward one. And then let's do the B. It's going to be the three sets here that's account for one letter. And then go for one frame. Move these ones over here so that we have one frame offset to all these letters. I think that looks pretty good. Now we just need to do an outset for the top layer over here, you on the keyboard. Let's do the same offsets. Go start with the first letter S here, and then go forward one frame. Move these keyframes further. Now let's see what it looks like. It's going to look like almost a wave effect. Now, we can just delete this one and duplicate this one again. Put it down here so that we don't have to adjust it one more time, because these two layers, top and bottom, are having the exact same animation. Let's see what it looks like after the offset. Yeah, I think I like it better. It just feels very smooth and there's a rhythm to it. I think I like how it looks. So let's do that and then save the project. Let's combine the three layers into one composition. Men of C, name this one, Subscribe Animation. Now before we finish, we have a couple more styles that we can add. Let's duplicate this layer one time. And then on the second layer, let's go to find hue saturation effects for this one. If we offset it by one frame, just move this ring one frame forward, we can change the master hue and get it a different color that's going behind our original layer. Let's change the master hue. I like this blue color behind the orange, I think I'm going to go with this one. And then we can also tone down the master saturation. And tone down the lightness, maybe to negative 15 on both. So that we have almost like a scribble layer underneath it to give it an echo effect. That's what it looks like. Then after that, what we can do is we can add in a noise effect. Let's go layer new adjustment layer and then let's go adding a noise effect, change the noise to 10% Another thing I want to add is turbulence displace. Now we can see everything is distorted. However, we want to change the amount to maybe 20, then we can change the size down to five. If I zoom in, you can see there's some roughen edges that goes around each letter to make this hosting look like a scribble effect. In terms of animation, let's go to at a key frame on the evolution and then we can go five second and then change the evolution amount to five round. Let's see how fast the animation is. You can see there's slight animation. If I go this to full resolution, you can see the effects that I get. Now I think the second layer might be too much. It's making me a little dizzy. Maybe I should change the opacity down to 35% or 20% Let's try that. Well, it's an option for you, you don't have to turn it on. I think it might be too much. If you don't like it, we can just hide this layer. Now, this is the animation after we add it in the animated turbulence display. I think I like how it looks like now we just need to add in a animated texture to complete this animation. Now I just dropped in my texture from online. Let's put the texture in, let's make this texture bigger to cover the whole thing. Then first of all, it's in white color, so we need to invert the color. Let's search for inverts that it's becoming a black color. Now let's animate the rotation property of this texture are on the keyboard. We're going to do one key frame at the start, and then go forward five frames, 12345. We can animate this rotation here, make sure it's big enough to cover the whole canvas. Then we're going to do another rotation, just make it as random as possible. For every five frames we're going to have one round. Then after we have these keyframes, right click, turn it into hold keyframe, and then we can do a expression option and then click on the Stopwatch over here. Just type in loop outs. Now we should have a texture that's looking all the time. This texture right now is too dark. Let's go to tone the opacity down. Maybe to 65% or even 30% more like 25. Let's change it to 25% Tony down and let's see the animation for now. Now, there you go. That's our full animation for the subscriber. Hope you like this lesson. I'll see you in the next video. 16. Sweat: All right, in this lesson we're going to animate the word sweats. If you ever want to be good at something, practice is key. We are already putting our blood and sweat into these animations. Trust the process, and keep practicing. You will become a great animator before you even realize it, let's take a look at our storyboard for the sweats. This is my word here and let me put a background behind it. Just a demo of how we set this up. Here we have this rock test condensed bold. First let's go to this transform tool. Click on it, and then we can skew this bottom on the left a little bit, slant it. Now we have this text here. The next thing we want to do is to add a white color and change the outline to this purple. That's good. The next thing we need to outline this one comment to outline this word. And we can go to object path and then offset path. Once we do the offset, we can do either 20 pixels or ten pixels. I think 15 pixels might be good enough. We can click on, okay, now we have these strokes. That's within the letter itself. We can ungroup these letters. Command shift G to ungroup it. For the outline, I can change the color, let me copy this color hex code. And then we can change the outline into the purple outline. Now we have this text set up, and then all we need to do is to move them closer. That's how we set up this text here. Now I can just delete this one and then make sure in the layers panel is all separated. We can save this Illustrator file. Let's go to After Effects. Click on this one, create a new composition. Call this one main comp. Let's do 13. 50 by 108030 frames per second. Click Okay, let's drop in our illustrator file Sweat. Make sure it's set to retain layer sizes. Uncheck this illustrator sequence and then we can go inside these ones, copy all the layer, paste it into main composition. That's good for now. And then for the background, I just need to make it bigger to fit the entire space here, lock the background. Let's move everything to the center of the composition. We can also hold down command and triple click the pen behind tool. In terms of each letter, we've got two layers for each letter, we can group them together. Let's group this S first men, name this one S. Then for this one will be these two will be. Then these two will be A. These two. These two will be the. I don't know why we have three layers that's not containing anything. We can delete those. Now we have the word here that looks pretty good. First, I think in this case, I just need to animate the scale property for these layers. Let's hit S on the keyboard at a keyframe at zero second. Go forward ten frames. I want to see where the anchor point is. What if I move this one bigger? If I change this one to 150% of scale? This is what I get at the beginning. I think what I want is I want to change the scale to make it even smaller. Maybe like this. Let's do 35% something like that. And then go for 20 frames. Again, copy the first keyframe to complete a loop. Let me select everything. Re click, go to Keyframe Assistant, Easy ease. Go to the graph editor, make sure we're inside the speed graph. I just wanted to hang over here with 95% of influence. Drag it until we see 95 doesn't have to be exact. And then over here we change it to 15% That looks good. Let's see the animation. Yeah, I think that works. And then I just need to duplicate this one a couple times. Let's try four loops. And then this one, again, 12, just duplicating these key frames. That's good. And then we can offset the key frames for each letter. Let's offset it by two frames. Go forward, two frames. See what it looks like with two frames of offset. All right, that's our animation for the sweat. Now we just need to select all these layers. Ken, name this one. Sweats animation. Let's duplicate this layer a couple of times. Now we can copy this color palette. Let's dropping our color palate here. This is going to be the first layer. For the second layer, I'm going to use a effects called Phil. Let's change the color to green color. Then for the third layer, we can change it to this pink color. Then the last layer we can change it to the dark blue color. Let's have one frame of offset for these layers. I just want to see what it looks like. Now, maybe one frame offset is not enough. Let's do two frames of offsets, see what it looks like. I also want to add a layer style stroke around these new layers. Let's go into stroke. Let's change it to make it two points, or 1.1 point should be enough. Let's copy this layer style and then paste it onto these two layers. Now we have a stroke that goes around. Right now, I feel like it's hard to see the second layer. Let me change the size of it. Let's change it to maybe 110% to make it a bit larger. And this one, let's change it to 115%. Then the last one, let's change it to one 20% let's see what it looks like. Yeah, I think it looks better now. It's much easier to see. After we have these animations, I want to duplicate the last layer one more time and then use this one as a shadow. Let's go to adjust the assemble this background color and make this background color darker. I need to move the position property and make sure this one doesn't have a stroke. I just want to move it out to serve as a drop shadow. And then we can delete the layer style. This one should be like drop shadow here. I can move even down like that. Now this last layer is serving as a drop shadow. I think that looks pretty good. And the last thing we want to do is I want to add some outline that goes out as well for the first sweat animation. Let's go click Review the Layer Sourcing Project. Let me duplicate this layer in the project panel. Then this one is going to be called Sweat Outline. And then let's drop the Sweat outline onto my timeline. Let's go inside this outline layer inside here. I just need to get this one layer, copy this outline layer, and then paste it inside this sweat outline. We can go into each layer and copy the outline illustrator file into my sweat outline layer. Now I can hide all these composition just to have my outline. Now I can hide these compositions. These are my outline layer. What I want to do is go rec click, Create Shapes from vector layers. And then under this content group, we can turn off the fill to only show the outline. We're going to do the same thing for this one. Let me create the outline for these layers. And then we can also hide all these Illustrator layers. Click on the shy button. Now we just need to go inside of each content. And then turn off the fill color so that we only have one outline left. Turn it off, turn it off. That looks pretty good. In terms of the animation, what we can do is on the keyboard, go for 20 frames. I just wanted to out like this. Let's try everything out S E, A and then it might be too big, shrinking down a little bit. Move this one here, let's overlap them a little bit so that each one can be seen. I just want them to zoom up. I also want them to zoom up in the center. So I need to manipulate the anchor point. Set the timeline indicator at the end. This is the position that we want at the end. Then at this point, I want to go to the pen behind to move the anchor point to the center for each letter that we're going to zoom in from the center for each letter. So this is what it looks at the beginning. We can even do it much smaller and this is going to be our animation. Select all the key frame, Relic keyframe assistant, easy ease easing like this. Let's see if it works. Let's change this one all the way, give it more energy. Then for the transparency, let's hit key on the keyboard. I just wanted to disappear when it zoops up. Almost like this, so it's disappearing when it's zooming out. And also for now, I want to offset it by two key frames for each letter. This is going to be the animation we have. Let's see outside what it looks like with our animation. Now this is what the outline looks like. I'm just positioning it behind the animation that we already have. And you can see the outline comes out first. Before all these animation, I just want to see what it looks like if I turn the outline color into this green color instead of the dark blue because I feel like it's hard to see. Let me just sample this screen color here and copy the hex code. I'm changing all the blue outline into the green. I think the green is easier to see. Yeah, I think it looks better with the green color. Now, can duplicate this outline. Put it here again. Now here's our final animation. That's it with the sweat animation. I'll see you in the next video. 17. This Is Art: Welcome back. In this lesson we're going to animate this phrase. This is art. I just love this phrase so much. It reminds me that what we're working on is art. And we're using our art to contribute to the culture. Culture is shaped by art, so let's use our creativity to create more amazing arts to shape our culture. Here we have our text inside Illustrator file. We'll import this file inside After Effects. Let's go to After Effects, create a new composition. Name this one to main com 13 50 by 108030 frames per second. For ten second, click on. Okay. Let's import our Illustrator file. And make sure to change this one to Composition Retain Layer Sizes. And check this illustrator sequence. Click on Open. Let's go inside. Now we've got four layers. First, I just want to animate the first word. Let's name my layer. This is, that Looks good. First of all, before we do the animation, we need to establish a couple guidelines. So let's go hit command R. To open our ruler, I need to pull a ruler to attach it to the baseline of my word. And then I need to pull a ruler to attach it to the top so that I know my original position, the height of my original text. And another thing is when we animate the bigger word, we need to establish a point where how tall this word is going to be, right? So I think around, I think the tallest I'm going to make, each word is going to be around this tall. I'm just going to snap my guide over here. This is my position for the bigger text. Then we also need a position for a smaller text. In terms of the smaller one, I'm just going to roughly drag a guide here. And this is going to be my smaller text, maybe around half of the height of my original text. So these are all the guidelines we have. Let's go animate my first word. Hit on the keyboard to pull up the scale property. Hit the stopwatch to add a keyframe. We're going to add an anticipation to this animation. Meaning if this word is becoming bigger, we need to shrink it first before it goes big. Go forward, five frames, everything we're going to animate in a increment of five frames. The anticipation and overshoot is going to be five frames apart. And then the actual animation is going to be 15 frames. Just remember that. Go forward five frames. 12345, Let's shrink it down to 115. There's a couple number that we need to remember. First, this is the anticipation number 115. Let's go forward 15 frames, 12345. That's 15 frames. We're going to make this all the way big. However, the height is not tall enough, so I need to unlink the property here, make this Y scale bigger like that, and link it back on. This is going to be our final position. However, I need to do a overshoot. Let's scope 45 frames again. 12345. This is going to copy this last keyframe we had, V. This is going to be my final position. However, for the overshoot, I'm just going to make it slightly bigger so that it's overshooting before it settles in position. That's my first animation. Small, big. And then come back down the click keyframe assistant. Easy. Go to the graph editor in terms of the influence, let's try 75% of influence on the anticipation and overshoot and then we're going to do 90% of influence on the actual animation. So this bigger graph here is the actual animation. Also make sure you're editing the speed graph so that's 90 and then we're going to do 75 over here and then 75 over here. Let's review the animation. Yeah, I like that energy here. That looks good. Now, since the first word is too big is covering my other two words, I need to shrink down the other two words. Let's go add null object, make sure it's at the bottom right corner of my text and then it's on the baseline. Go select the last key word, parent it to the null. Hit on the keyboard for the scale property. I want to do the same thing. Do an anticipation, in this case, it's going to become bigger here, then I'm going to do an overshoot, become too small, then the final position would be around here. I need to adjust my smaller text guideline to make sure it matches with my final small word. That's going to be my smaller word. If I go select the four key frame. Let's go to my easy copy. Plug in, hit the copy and then paste the easing on here. Let's see the animation. Yeah, that looks pretty organic, pretty fluid. I like it now. We just need to hold this scene for five frames, 12345, Add a keyframe on the scale of the null and the keyframe for the scale of the first word. That's good, We're going to hold here. Next thing we're going to do is we're going to make the second word bigger. We're going to shrink this first word back down into its original position. The way to do that is we can copy the first four key frames and then paste down here M V and then click go to the last option keyframe assistant, and then select time reverse key frame, which is the last one, I'm not sure if you can see but it's the last command time reverse keyframes, we're going to have the exact same animation. However, it's reversing the animation we had. The first word is going back to its original position. Let's do the same thing for the null object command C and then command V and then go to red click keyframe, assistant time reverse keyframes. Basically it's reversing our key frames. And then, let's see, the animation. The only problem is on the second run, I need to have this, my second word becoming bigger. Let's add a key frame on the scale property of my second word. Let's do a small, very slight anticipation to one, 15% then we're just going to make it all the way big, like this. Let's property link here, strike the wide position scale like this, and then we're going to link it back on. Let's go backward, make sure it's overshooting a little bit. And those are the key frame for my second word. We're going to copy the easing. Copy and then paste the easing on here. Let's see the animation. Yeah, I think it works. Although I also need to make these two words smaller. Because now since the middle word is too big, it's covering the side word right over here in the final position. I'm just going to make this one smaller, like this. The issue is we cannot adjust analogy. Because if we adjust log over here, it's going to drag my second word together. In order to do that, we can only animate the scale property of this third word here from this original position. Let's also try to give it a anticipation, maybe to 115, then over here, just going to shrink it back down to a similar size to my first word here. And then copy this key frame. Give it a overshoot, something like that. And then let me copy the easing again, put it onto this here, let's see the animation. Yeah, I think that that works. That's good. And then let's go forward five frames to hold it here. Hold everything for five frames. That's good. The next thing we're going to animate the third word. Arts, make it bigger. Let's go forward five frames again. 12345. Just going to do a anticipation. 15 frames, go all the way big, maybe like this big. And then unlink the property. Change the heights, link it back on. Go for five frames, copy this last key frame, this is the final state. And then the second, last one, we can do a little bit of overshoots. Make it bigger, that's good. Now our is too big, so we need to shrink it back down. In order to shrink is, first of all, I need to make it smaller, almost the same size as my first word. In that case, we're going to do a anticipation and then shrink it back down like this. However, if I do it this way, we're going to have a big gap. If I turn off the art, we're going to have a big gap between these two words. That's not what I want. The issue is my anchor point. However, I cannot change my anchor point because if I change it, the first batch of keyframe is not going to be working anymore. In this case, what we need to do is to split the layer. Where I need it over here. I need to split this layer command shift and then to save all my keyframe that I had in the previous portion. And then going forward from this point, I'm going to use a new layer to control this letter or this word with a new position of my anchor point. Now I've already split my layer. I can delete these two keyframes because it's on the original layer, it's not working anymore. Let's go as on the keyboard, let's change the anchor point to the bottom left corner, may be around here. And then let's do a overshot. That looks good. And then if I shrink the size of my second word, you can see now if I turn off my art, it's actually going closer to my first word. I don't know what happened with my baseline. It's not aligning. Yeah, that should work. The thing is I just need to make sure that my anchor point is right on top of my baseline so that I can align the letter better. I need to go to pen pine to make sure it's on the baseline here. When I'm shrinking the size down, this do a overshoot. That's good. That's the animation for the second word coming down. I might need to make this anchor point to the right a bit more so that there's more space between the first two words. Yeah, just put it right on the edge of my letter. That should work. Yeah, that works for me. Let me turn the art back on. However you see the art is too big. I still need another null object. Let's go to find a new null object. Make sure it's starting from here at this point. And then we are going to move this null object all the way to the bottom left corner and we're going to parent the and this to this null object on the keyboard for the null object. That's animate the scale property. Let's do a overshoot of 110. That's good. And then when it comes back down, I need to drag it all the way, like this, smaller over here. Maybe this. I'm using this new null object to control both the first word and the second word. And I'm using the second word with a new layer, a split layer to control itself to have itself to be the same size as my first word. And then the null object is controlling the two words together to shrink the size. Let me copy my influence. Let's go to the original layer on the keyboard. Just want to copy the influence. Copy here. And then put it on this null object. I also want to put it over here. Let's see the animation for now. Let's put it here as well. Let's see the animation. That's our animation for now. Now we're going to continue animating, make everything back to its original states. For the arts was my arts. I just want to hold it here for five frames. 12345 for everything. Let's hit the key frame. That's good. Then we have these keyframes here. Don't need this one. Now we can animate everything back to its normal position. Go forward five frames again. 12345, let's go a slight overshoot, and then we're going to do an overshoot for the art. Then 15 frames, 112345, the art is going to go back a overshoots, then this is going to be the overshoot, then. This is going to be the original position. However, I need this to become one oh nine as well. And then the last one would become 125. 125. That's the original size of my arts. That's good. And then this one is going to be scaling up like this. That's my final position. I'm just going to do an overshoot over here. Slightly bigger. That's good. Then same thing, we need to copy the influence. Always go back to the original four key frames to copy the influence. Just copying these, easing onto these new key frames. I think that works. And then we can it into set the preview range. Let's see the animation overall. I just need to make sure, this proportionate scale to put it back. If it's 72, I need to put it back to 72.6 over here. Change the scale back to 72.6 so that it's proportionate. There you go. That's our animation for. This is art. 18. Texture & Noise: Next thing we can just add some animated texture and finish it off. Now I have my texture layer over here. Let me track my texture down. First I want to apply it to my first word, go rotate this texture R on the keyboard, and then rotate it, maybe put it over here. Let's change the blending mode to a soft lights. I just wanted to cover my text layer over here. I will use this text layer as alpha mat for my texture. Let's go to Track select layer number seven. Also, I need to turn this layer on. This is what it looks like after the texture. And then this is without the texture. I think it looks pretty cool with the texture here, looks fine to me. And then I'm going to duplicate this texture and put it on top of my art. Then let's go to track Matt. Make sure it's set to this fourth layer called Arts. Now we have this texture layer on top of my art text. I can make this texture smaller, even smaller. Maybe rotate it a bit more. Just give it a good position. Make sure you also turn this art layer on, otherwise it's hard to see. Let me make it smaller. Put it over here. Just want to rotate it to a direction, something like that. And then make it a bit bigger. I can also unlink the scale property to maybe change, make the texture longer like this, that the pattern is more obvious inside. I think I like that one better. Then I'm just going to make it a little bit wider to cover my whole text here. And then rotate it like this. Maybe change it to eight, I think that works. Yeah, I like how that looks. Next thing, we also need to parent this. I'm going to parent the texture with my art layer. And then the first texture will be parent to this layer that is moving with the texture, right. And then I'm going to duplicate the texture again. D, put it on top of the, the second word. I'm going to put it on top of the second word. Make sure the track mat is set to layer eight for this one, and then this one is set to layer six because we have two different layers. For the second word, we also need to turn on the second word for this one, let's change the blending mode to a different blending mode. We can try maybe a hard light, let me try a hard light over here. Now we can see this becomes a black color instead of a beige color before. And what if I go to the opacity and tone it down? Then we can also make this layer smaller, move it here, change the scale. Just manipulate the texture so that it looks good. I think this texture looks pretty good. I like how it looks now. I just want to make sure this one is parented to layer eight here. And then I'm going to delete this, duplicate this one, make sure this one is parented to layer six. Now this is the animation after we added the texture. I think I like these textures overall. And then now I just want to finish up by doing a couple more things. Adjustment layer as to a noise effect, let's put it to 10% Now we just need to add a turbulence display. Change it to 20 the size, maybe to five. Then let's do a animation on the evolution. Hit the key frame over here. Hit you on the keyboard. Let's do six round. The last thing we will do is we're going to drop in another texture that we had. Let's put it in here and make it bigger. Let's do some rotation changes to my texture that some rotation changes. Select everything, right click, whole key frame, and then add in an expression called loopout. Now we're going to have this texture animated throughout the entire time. We need to invert this texture. We already talked about how to animate texture in one of the other lesson, right? I'm just going to do it quickly here. We're inverting the color now. And then we're going to hit on the keyboard, change the opacity down. Now let's change the blending mode to screen Now this is the final animation with some textures and some turbulent displace effects. It just makes our animation overall really stylized and really grungy. There you go. That's how we make this animation. Hope you like it. I'll see you in the next video. 19. Export Gifs: All right, in this video I'm going to show you how we can export our animation into a gift. And we can share it online. First, when we talk about gift, most of the gifts are looping, so we need to make sure our animation is a seamless loop before we export. I already talked about how to do that in the previous lesson. You can refer back to that lesson where we talked about how we can make a seamless loop out of our animation. And the main thing is that we need to set the preview points with the shortcut on the keyboard, which is B. And if I want to export this video from zero second to 1 second, I can just set it 0-1 When my timeline indicator is at zero. I'll be on the keyboard as you can see here. And then I'll go to 1 second. Hit N on the keyboard, and this is my preview range. This is going to be the range that my video is going to be exported from. We just need to make sure within this range our animation is looping. In terms of this animation, if I play it, I think it's looping, although the texture might not loop. But I don't think that's a problem. Because the texture is always changing randomly. It doesn't affect our animation in terms of the point where it loops, when everything settles down. If I hit in on the keyboard, this is the ending point where I can make it loop. If I play it, I think that played out just fine with my ending position around here. So this is going to be the area where I will export a gift based on your animation and your video. Just to make sure it doesn't have to start from zero second, like we talked about in the looping animation lesson. You can start it in the middle around maybe like 15 frames or even 1 second. As long as you have an area that's a looping animation, we can start to export as a gift. With this preview range set in my timeline, I'll go to composition. Let's go add to Adobe Media Encoder Q. This is another software that's from Adobe, and it's mainly for helping you to export. Now we have the Adobe Media encoder opened. Let's go select this dropdown menu. You can see over here, it's animated gift format. You can also export it into a H 264, which is a normal video format. Or you can export it as a gift. There's a bunch of different formats, but in this case, I'm going to go for animated gift. And there's also a preset over here. Normally we don't change any of the setting in the preset. And there's also a output location. Let's go select this one over here. I'll just do a Output folder, and then I'll call this one. This is Arts. Let's go click on Safe. Now it's ready to be exploited. I'll just click on this Play button here. It's rendering our file into a animated gift. After it says done, let's go to my folder here, let's go to the output folder. And here we go. This is our gift. If I make it smaller, you can see it's looking pretty good. That's how we export a gift format video. Let's see how big it is right now. Sometimes when you export it straight out of the Adobe Media encoder, the gift is going to be super big. Right now, 100 megabytes, which is too big. And if that's not the kind of gift that you want, let's go to Photo. We can open Photoshop and drop this one inside Photoshop. Let's go to File for Web. I just want to see if we can make this file size smaller because 100 megabyte is too big for a gift over here, it's going to turn on the set for web window and then make sure it's set to give. We have these settings that we can control if the size is too big. One thing we can do is we can shrink down the overall size of our animation. It doesn't have to be this big. If we go for 50% it's going to render at 675 bit, 540 and it's going to significantly shrink down the size of our gift. You can see over here, my Photoshop is calculating now with 50% of original size, the weight of the file has come down to 16.51 megabytes. I think this is a good size now. However, if you want to make it even smaller, you can actually change all these other settings in terms of the color. If you don't have a lot of color inside your animation, you can try, maybe change the 64 color range into a 32 and see if that changes anything. Sometimes you have to balance out the quality of the gift and the weight of the gift. In this case, once we change the color setting to 32, nothing changes. Everything still looks the same. However, the weight of the file has decreased. Again, that's a win for me. I can also change over here all these different settings. You can try each one and see if we can still maintain the same quality while making the file size smaller. But I think I'm happy with what I have right now. I can just go click on Safe and then go export it to this output folder. Let's call this one. Number two. Let's go to our folder here. This is our new gift, which is 12 megabytes. That's a good size. And then the size is much smaller. It's half the size of my original gift. That's a native way of how we can export as a gift format. There's also other plugins like Gift Gone and other ones that you can download and install in after effects to save you some time when you're exporting the gifts. Most of the times I find myself using Photoshop to optimize it instead of using the plugins and going back to when we had the export with Adobe Media encoder. You can also go click on this ad to render que instead of the Adobe Media encoder. This way it's going to render everything inside after effects. It's not going to open another software. The problem with this is if you're rendering over here, if the render time is taking too long, you wouldn't be able to work out anything within after effects. There's always trade off if we click on this high quality here, we don't really have a gift option within this render. However, most of the time you can do a H 264 video and then go click on okay. Let's render this video into my output folder. Just call this one, This is art P four and click on Render. Now we will get this MP four video. We can open this video inside Photoshop and then use the same way that we did just now, go to save for Web. Then we can optimize our gift within this window again. All right, those are the two ways where we can export and optimize our gift. These two ways is going to give you some degree of control over your quality and also the file weights. You can test them out and see which way works better for you. That's it with this lesson. I'll see you in the next video. 20. Congrats!: Grass on finishing this course. Hope you had as much fun animating these typography as I do. There are so many possibilities to these animations. You can customize the typefaces to get a complete, different look and feel. You can even add in some textures and maybe some grading colors and some gloves. Just be creative and see what kind of style you can come up with by combining some of these techniques. From here, I hope you can finish a couple of your type animation projects and upload them to the project section of this course to share it with your fellow students and get some feedback. My goal for this course is to show you the different techniques that we can use to animate these typography and the possibilities by switching things up. If you like this course, don't forget to leave me a review. I like to hear your feedback and how this course has helped you. If you have never used after effects before. I hope this class is a game changer and let you see that sulphur itself is not so hard to learn, and animation is easily achievable. I hope this class will inspire you to learn more motion design in general. We also have a Youtube channel that we share animation tips and tricks and techniques. Every week you can follow us at motion circles on Youtube and Instagram. If you have any question going through the course, don't hesitate to ask me. I'm here to answer all your questions and give you guidance along the way. Thank you so much for taking the course. I'll see you in the next one.