Motion Design for Beginners | Illustrator & After Effects Animation Tutorial

are you a designer looking to add a little bit of movement to your work or perhaps you're an animator looking to create your own custom designs well either way this is the short course for you my name is Jess for envato tuts plus and I'm a professional graphic and motion designer my work ranges from creating branding assets for businesses all the way up to complex motion design and animation work and in this course I'm going to show you how I work between Adobe Illustrator and after effects to b

ring my designs to life if you're looking to get into motion design but don't quite know where to start then go ahead and check out envato elements where with a simple affordable subscription you get access to millions of digital assets that you can download and use in your projects right away and this includes great video templates for after effects as well as graphic design packages for illustrator music fonts stock footage and heaps more so to learn more about invited elements head to the lin

k in the description below in this course I'm going to show you how to design and animate this fun vintage sticker from scratch to use as a Standalone logo or to decorate your branding projects this is a really common round trip for a motion designer and I'm looking forward to jumping in and showing you so let's open up illustrator and get started okay so this is the final product that we're going to be making today we've got this cute vintage logo freshly squeezed which you could use on a cool

branding project you could replace any fruit you like in the middle or anything else really it's a pretty variable style so I think before making any branding projects I always like to get inspired and for something like this there's some great artists out there making work in this style Steve gavan is great you've got Lauren Martin who does some really cute stuff yeah yeah Wella and Adam the illustrator are great people to look up if you are interested in making more in this style make sure you

grab a lot of reference from you know a few different artists as well so your work stays original but yeah these guys are great and I usually pull together a bit of a mood board to inspire me so it that's a first step and then to create this logo I've picked this color scheme so quite saturated colors for this one because I wanted it to really stand out but yeah let's get into making it so to start off with we're just going to create our little orange body and he's really easy he's just a circl

e which is great so I'm going to create a circle and then color pick it to our orange because that's the color that he is I'm also going to add a stroke um and we're going to make it two one two one two one which is just a good gray it's also this gray here and we're going to make our weight for all of our Strokes in this Five Points so it's good to always keep your Strokes consistent I think it really lifts the final design if they're all the same um so yeah here basically is our little orange

boy uh body which is a great easy start the next thing we're going to do is create his facial features which are again really easy shapes so we're going to start with just a rectangle like this this is going to be the back of his eye and then if you use your direct selection tool which is this one you can bring and select the shape make sure you click in the middle and not one of the corners you can then drag these rounded points to to round it off but then one trick I always do is to simplify t

his shape before you edit it any further so you've only got six points because if you don't do that you end up with two points at this top bit which is just super annoying when you're trying to do anything with it so yeah always if you've done this to any kind of pill shape simplify it down to six and then now we've got one nice point that we can manipulate how we like so yeah then I reckon to get that nice eye shape I'm just going to lengthen the gap between that top bit and these points in the

middle so I'll select just those with direct selection and then press e to bring up the transform tools or over here it's this one and then shrink that down slightly so you've got a bit more space and then just to sort of even those up I'm going to shift C which will bring up the um I don't know what they call this Anchor Point tool and then just re-round these Corners a little bit so so doing it this way you know it's not perfect you're not getting like the same exact corners on each side beca

use you're doing it kind of by hand I actually think that gives it a nice end look that's just a little bit less perfect than if you were using geometric shapes only cool so that's the basic shape for his eye I'm going to make the center of this white and then we're just going to duplicate this to make the pupil so command C command F should paste in front yep and hold option shift to scale down and then we're just going to flick the color into the center as well so now we have a nice pupil all

right now the next thing we're going to do is create our little star for his eye so you can just start with a circle and um I think maybe for ease of seeing this I'll just switch that off so we've just got the stroke all right so we've just made a circle we're going to go to effect and distort and transform and pucker and bloat and this is a really easy way to get a star quite quickly we're going to drag it towards the pucker side probably about 60 is good 62. that looks alright hit OK and then

because we don't really need to adjust this anymore I'm quite happy with that I'm just going to go object expand appearance and then we've got this as a path and not an effect because the style we're using is quite rounded and friendly we don't want these pointy Corners either so the first thing I'm going to do is go over to the stroke panel and let's go show all options and we're going to flick the corners off pointy and make sure that the cap is rounded and that's for all of our lines as well

we'll do we'll make sure that's on and then I think we're also just going to drag these points in a little bit with our direct selection tool so that it's a bit bit more friendly again so we just want this to be white and with no stroke as it is there so we'll drag this over on top of his eyeball and hold shift to scale it down while remaining proportional like that and that's the basic basis of our eye but we also want him to have a little eyelid so what I'm going to do is duplicate this holdin

g option and shift so we have our have our base layer and then I'm going to grab the brush tool and just draw a line across like that kind of like a bit of an eyelid shape down the bottom here and then we're going to use my favorite tool which is the shape Builder tool which is this one here and we're going to separate these shapes and then all we need is this one that's our eyelid and we can just pop it exactly over the top and we'll make it the same orange as our orange itself and then we're j

ust going to bring this to the front so command shift bracket or you can right click arrange to bring up those tools but I would learn the shortcuts they're very handy cool all right that's our eye basically so we'll just bring that over onto our Orange and we'll duplicate it to make the second one and because he's kind of on a bit of an angle I'm just shifting this other one up slightly so they're kind of like he's on a bit of an angle cool all right what else does an orange have on its face pr

obably a nose so this one will be pretty easy to do we're just going to use the pen tool and draw kind of a bit of an oblongy shape only three points you know that that should basically do it it's pretty simple shape maybe a little bit more boldness at the top because we want him to be a bit cute and make sure again that our Strokes are set to these ones cool all right now it's got a nose and then for the mouth you could experiment with all kinds of mouth shapes because I think the mouth really

helps to show expression but today we're just going to do a little puckered mouth because he is freshly squeezed and we want to get that concept across so again with the pen tool we're just going to draw a little line like this we don't need a fill on this one either um and then we're going to draw a little smile just little and then we can take this shape command option shift to drag it out again o will be your reverse tool which is another very handy shortcut to just learn but it's up here if

you need it and then hold shift and you can just reverse that one around and then we'll just move it up into place maybe we'll make him a little bit more Smiley if we bring up our tool we can convert this anchor to also be a curved one and then adjust them and that looks pretty good I'm just going to group that so command G oh no oh what happened we missed an anchor point maybe I should come in a bit closer going blind all right command G group this together and now he's got a little smile cute

okay uh I reckon we need some freckles as well so these are pretty easy they're just dots you could draw them with the brush tool but I think because we're going after effects and after effects doesn't really like differing stroke types let's do them with a little circle uh instead so we'll just draw one that to the inside so that it's just the fill we don't need the stroke on this we'll hold option again to duplicate these into a nice little three and then option drag as well to put them on the

other side so really easily you can get some cute little freckles on your little orange and maybe I'll just mess these ones up a bit so they're not quite the same because we're sort of going for that vintagey hand drawn Style all right cool so that's our face all about orange he's looking pretty good the eyes are a bit bigger than what we had but that's fine I think that looks good all right so he needs a little orange bit as well what do you call that like the the stem hole anyway we're gonna

do want to heat those up here and just the pen tool will do and this shape it kind of doesn't really matter what it is it just kind of has to look a little bit like it's bloated on his top so something like that we'll do just a full black is all right and then it might be worth it just slightly round these Corners again too so we're matching that that style um so something like that will work and we'll also give him a leaf because he's fresh off the tree so again with the pen tool you could you

know do this Leaf anywhere you like really but just a few points should do it usually I would draw a shape like this get it somewhere close enough and then go back with our Corner changing tool and just adjust these points you can also switch back to your direct selection at any point to kind of move individual points and anchors around so kind of using those two tools to really refine this until to go that'll do for now but maybe I'll come back to it we'll make it green as well and give it the

same stroke as everything else two one and five cool I'll make it a bit bigger Okay cool so the next thing we're going to draw is his arm and his hand and I'll let you in on a bit of a secret I am terrible at drawing hands it's been one of the things that I just have never been able to crack so uh a good way to go work around this everybody does it is to find a good reference so I'm going to use envato and I'm going to search cartoon hand and this one I reckon will probably do so we're going to

download that and we can bring it into our project and you could use uh this as it is because it's a vector which is fantastic or we can use it like I'm going to is just a drawing reference for the hand we want so let's get that in and over in illustrator here we go we've got our hand reference I am just going to flip this 180 and I'm going to use this hand here as my reference and we'll just I'll just lock it so Command 2 in illustrator is look and now that's not going to go anywhere it'll be o

ut of our way all right so we're going to use this hand as a reference and we're just going to adapt it a little bit because obviously the finger is pointing out and we want him to just be full thumbs up and we're going to keep in mind like the style is a bit different that we're going for here we want to have that real sort of gloved Mickey Mouse cartoon style so we're going to make all the fingers pretty bulbous so I'll start a little bit wider than this but kind of just gives you a good idea

of proportion using a reference like this so we've given a nice nice big thumb and then we're going to go down on a bit of an angle here to give us a finger just move this in a little bit more and you can you know switch between the pen tool the The Anchor Point selection tool and the direct selection tool to really have like good control as your as you're drawing these things all right so pretty happy with that our gloved hand I'll just come in G group all that together so we've got one nice sh

ape and actually make sure this other side we'll use the direct selection to just cut through that group but that's also filled with white now so if we drag this over we've got a nice gloved hand all right so we'll make this about as about as big as that I reckon and for the arm the arm's really easy so we're just going to start him or start it off I don't know about there and just with one one big stroke you could do both sides but I think it's pretty simple turn off the fill and then we're goi

ng to make this like oh maybe like 40. maybe a bit bigger maybe let's try 60. cool yeah that looks pretty good to me or maybe even a little bit bigger it's all in the details um we'll drag this in front so command shift bracket again and just kind of position this until it looks about right I reckon about there and then I usually like to keep a copy of this just in case I decide I want to change the arm shape later because it's much easier to do it when it's in its stroke form but I'll just move

that out of the way and then we're going to go to object expand Phil and stroke and then we've got a nice solid shape now that isn't a stroke and I just want the color to be exactly the same as the rest of his body so I'm going to just color pick using this eyedropper tool which will give us both the stroke and the fill which is really handy in this case particularly also just going to we don't need this line here so if you click your direct selection tool and then select that particular line a

nd hit delete it will go away which is also great we'll Chuck this into our nice rounded corners and that's all looking pretty good all right now we're just going to do some very quick highlights and shadows just to I don't know give this a bit more depth so I'll do these with the with the brush tool so starting over here because he's an orange and you know they're kind of lumpy and because we're about freshly squeezing I'm going to give him like a bit of a wavy highlight over here so just draw

something like that and the great thing about the brush tool is if you're like drawing this line and then you decide oh it's actually not quite right I actually want you know maybe one less wave you can just select the path and then just go over it again and as long as you're starting and ending on the path that you've already drawn it'll just fix it up and snap it the way that it was which is great um so yeah I reckon something like that maybe maybe we'll just have it be a little more appeal li

ke a something like that we want it to be graphic but also a little bit illustrative so something like that will do and I'm just going to move it out a little bit all right great so that's a good shape now we're going to fill it again with this orange but we don't need a stroke on this one a good color for a highlight I think always starts with the base color that you've got but we'll just pull the black completely out of it so in your B column here pull that out and in saturation you can pump t

hat up a little bit so there's still a bit of color but you know it's it's a lighter tint of what we have and then we're going to also make this overlay so it's a bit luminescent all right and that's probably we might want to make it sort of I think I want it positioned slightly around the top a little bit more so I'm just going to rotate it using the center of the orange as the the rotation point so if you hit r that will bring up your rotation and this little anchor here is where it's going to

rotate from so right now it's here but we want it to be from about Center so I'm just going to just click and that will change that and then you can click and drag to rotate the shape that you've made so that's probably good and then we obviously want to crop this into just the shape of his base so I'm going to command C to copy and command F to paste in front and then command shift uh Open Bracket to bring in the front and we're going to use the Pathfinder tool to do this bit so this is a real

ly powerful tool sometimes it'll end up over here but if you can't see it go to window Pathfinder and you can also bring it out in this little dialog box so there's lots of options you can do here to keep you know to create shapes and and unite shapes and build new shapes it's really good so we'll select both our objects making sure that the circle is in front and then we're going to hit the intersect shape today which will give us our highlight shape and Classic this happens every time and I fo

rget about it but it will take the the fill and stroke from that top object so we just need to change that again so just go back and do sort of what we had done before and overlay that so we get the same treatment back and then we're going to put the the leaf on top all right and we're also going to do a shadow for under his arm here so this is going to be pretty important because this arm is going to move like this he's going to go thumbs up so the shadow that we make also has to move with this

and kind of look natural as he moves his arm so what might be the easiest is to move it into a position where you might see most of that shadow and then we're going to use this as our base shape for that shadow so just alt drag to duplicate his arm we're going to flick the color and then put this behind that so command bracket to move it behind and then I'm just going to adjust this slightly and pick up this singular point and drag it to meet that one so it's coming from Andrew's arm and then w

e're just going to square this off slightly using these handles so that it kind of comes a bit straighter down from his arm and then these ones will whoops these ones in the shadow will come up just to show where the shadow ends so that looks alright let's just rotate his arm back so you can change that Anchor Point if we look before and then in After Effects we're going to hide this with a simple mat to his body shape so if you wanted to finish your illustration you know to this standard you co

uld do that same process I did before where you crop it out but I think because we're going into animation for now we'll leave this and do that masking in After Effects great okay I'm just going to quickly do some highlights on this Leaf too so we'll do another kind of bulby shape up here and same exact same process as before just making it that green taking the black out of it and making sure it's on overly and then you know you can come in and do a bit of refining to make sure that it's hittin

g that line but because it's on overlay you can't really tell No One's Gonna all right kind of want it to match the leaf as well cool and we'll just give it a little Shadow on this far side of it so I'm just going to use the brush tool again and something like that might be a good start color pick this because we want it to just be that and then we're going to bring these shapes in front so there you go it's just subtle kind of a little bit of extra thickness really on this line smoothly go into

the line that we've got there we go cool all right so there's our character pretty much done yep that looks pretty good cool all right so here's our character I'm pretty happy with that um so we can probably just say goodbye to that now we're gonna do the rest of the sticker around him so draw a another Circle which is bigger than him and we're gonna make it this nice purple color and um just for easable group all of him together command G and then I'm going to drag him on top just so we have a

nother version command shift bracket to bring him to the front cool all right and we probably yeah we probably want about that much space and now we're going to use some fonts so what we're going to do first is command C command V this circle and just so we can see it really easily I will make it a red line and we're going to Center this to this circle uh until we get about about that big and we're going to use our type on a path tool which is up here if you hold down you can select this one typ

e on a path and then you go over to your path and when it highlights blue you can click and it will put the text around that Circle for you so we're going to have one freshy fresh Lee is the first word we're going to do so we'll select that or you can just command a select all of that all right so I'm going to use a font called standy Sandy bald which you can find on envato and there'll be a link in the description below as to where you can find this one but you know lots of fonts you could use

for this just try and find something nice and vintage um it's a good way to go all right so there's our font I'm just going to also give it about 70 on its kerning just so you know with these bold fonts it's a little bit easier to read especially on on the circle like this and I'm also just going to rotate it up until it looks alright and then we need a squeezed as well so alt I'll just drag this out alt shift to drag and copy and we'll write oops squeezed in here but as you can see this is not

going to work because it'll be upside down which is very annoying so the the way that you flip it is you get your direct selection tool and you find this one so these ones are your oops you're kind of flow on things so if you wanted to add another Circle you could click those but actually generally they're kind of unhelpful so this one is the one we want and you can just Flip Flip that over and then that will bring your text to the inside and if you bring that over now and select our freshly and

then double select it to have this be our hero anchor and then you can kind of make sure that they're aligned that way it's still a bit it's a bit too small the radius of that because it's taking it off this one so usually what I do is just make sure it's all lined up to the center and then scale it holding alt and shift until that blue line hits the top of the text that you're wanting to match and then we will just pick that text again to make sure it's the right size and then you can just rot

ate it until it looks Center all right so we've got our text I'm just going to make this a little bit bigger maybe like that's good and then just rotate these into place and actually I think you know a bit more a dynamic sticker let's off center the the rotation of these so that looks pretty cool to me I'm going to make them white as well lovely okay um I'm just going to ungroup our little orange because now he's in the right spot and bring his um in front of the text so just selecting it all in

command shift bracket again and yeah we're basically there so we're just going to very quickly now make our little side oranges and this is a really easy easy peasy illustration to do because it's all just basic shapes so we're going to start with our orange circle again and then select just this point on here with our direct selection tool and delete that because we just want a semicircle and then we're going to close this shape so if you hover with your pen tool and you get this little divide

r line then it knows that you're talking about that Anchor Point and you want to close it and the circle means the shape is gonna be closed which is what we just did and then we're going to round these Corners off a little bit just to match our style as well so that's our basic slice shape then we're going to go up to object and go to path offset path is what we want which is going to give us the same path again just scaled up so it's a bit sometimes it's a bit better than scaling because it'll

keep the same like ratios on the corners rather than scaling will kind of distort it so sometimes this is a better way to cut things into pieces cool so offset 10 that looks alright hit OK and then this middle shape is going to be our inside wedge bits so I'm just going to color pick the same color is here so that it matches our highlights and then to get our little wedges I'm going to use the pen tool and just draw a straight line up the center of the shape and I'll just make this something vis

ible and it's not quite Center so just select both of these and double select the back one to Center that and then we're just going to rotate this from this bottom point so again press R for rotate select the bottom anchor with your rotate so your anchors down there and then we're going to hold alt shift and I'm just going to do this by eye as well and if you're holding oops and then if we go back here and holding Alt until we get you know some nice quarters in our wedges like that and then we'r

e going to select all these and use again our shape Builder tool to separate these shapes out and then we'll delete these bits we don't need them and so now oh yeah classic we've forgotten that it changes our colors so we'll just make change that back and then we're going to do the same offset pass path thing again to give these a bit more space so object path offset path and this time we want to go negative because we want them to go in so we'll go negative maybe three and if you click off it'l

l show you what it looks like so that looks pretty good to me hit okay and then we can just delete these backwards backwards out a little [Applause] so command G that group it all together and then we can bring it in and maybe we'll put it on a bit of an angle and copy it over here all right how's that looking maybe a bit bigger all right I'm going to drag this off the artboard so we can see better here but we're going to also just give this an outline using that same offset path technique again

that I mean there's plenty ways you could do this but I think offset pass sometimes is the easiest because then it's still it's a shape it's not just a stroke as well so there's our little outside line which I've just made white to be the edge of our sticker all right and now we're going to give it the texture which is our last design step so I've got this texture from envato which is just a poster stick texture and I'm just going to drag out alt drag the base the very base of our sticker on to

p of that and we're just going to make a clipping mask so if you select both you can do it up here under object clipping mask make or command 7 which is another very handy shortcut and then we're just going to bring it on top so you might select that back one double select it again and Center it and then bring it to the front using command shift bracket and we're going to multiply that as well and there's our sticker all done okay so we're ready to bring this into after effects and usually I wou

ld use this great plugin called Overlord which you can go check out it makes this process a lot simpler but I'm going to show you how we can do it without any plugins so the most important thing is that we separate this illustration onto some different layers and for ease as well we're going to use this artboard here so if you want to create a new artboard you can go to document setup edit artboards and select this one and we're just gonna alt shift to copy this artboard as well so this one's ex

actly 1080 by 1080 which is a nice Instagram size and will be the exact same artboard size that we make in After Effects so so that everything comes over in the right spot we'll just make sure it's the same artboard all right so there's our new sticker and we're gonna first off this uh multiply effect we might just remake this in After Effects I think but we'll put it on to a different layer anyway and we'll call it paper texture then the text I think we can outline this because I'm pretty happy

with it we don't need to edit it when we're in After Effects and there's a whole other way that you might actually have to make this text come over in a circle in After Effects which I don't want to have to worry about today so I'm going to expand this or you can go it's actually object type create outlines or command shift o and then these are just raw shapes now which is fabulous so gonna pull that onto a different layer and call this type and then we'll grab our little orange slices and we'l

l call these these oranges all right let's call them orange slice then we want his arm to be one layer so that can go into a new layer and we'll call it um and then we can put his his freckles and his mouth and his nose will do on a new layer and we'll call this face and the leaf head um so the leaf we put on a different layer because I reckon it'd be cute to have him you know his little rotate of his obvious Leaf there so that needs to be on its own layer the the face I'm not really planning to

move so they're they're good together but the arm we definitely want to move and the eyes I think we're going to have these do a little rotate and him sort of uh have his eyelids come up so we want them to be separate from the rest of his body I'm also going to put I'll put his body on a new layer and on that layer I think we can also have this which is probably just going to move with his base so I'll put that there and the Highlight will keep on a new layer because we might want him to rotate

but but the angle of the light is not going to change if he rotates so that needs to be on a separate layer too so let's just bring that back up so this is orange base and this is highlight all right and then we just need to grab his eyes so let me switch that off and actually I'm gonna just delete the whole second eye because uh we're gonna do this with a pre-comp in After Effects and it'll be much easier just to duplicate the eye after it's animated so we'll just drag the eye elements onto a

new layer but we actually want to have this broken up into more parts so I'm going to put pupil on its own layer basically everything that you want to move has to be on its own layer and then we'll put this is the eyelid and this is the eye back and then on the eye back somewhere is going to be our it's white as well which makes it hard to see but our star so we've got the start we've got the pupil we've got the eye lid and we've got the eye back so we'll make a really simple eye rig for that wh

en we get into after effects using that piece and all right and the only last thing I want to do probably is flip the arm on top of that type there and oh the other last thing actually no that's not the last thing the shadow so I'll just put that on its own layer as well um okay and the last thing we need to do is just make sure this is the only artboard in the comp so I'm just going to go through and delete this artboard and this artboard and it shouldn't really matter but I'm just going to del

ete all this stuff as well just so it's nice and clean all right so we've saved that we have saved that and we're going to jump into After Effects now [Music] six my favorite program so we're going to create a new composition that matches our one our artboard in illustrator so let's just call this freshly oh freshly squeezed v01 cool so we're just going to adapt this to be 1080 by 1080 to match that artboard size 25 frames a second is fine for what we're doing today and about five seconds is goo

d too so you just select those and hit OK and we've got our artboard so uh to import our file we can just go file import file or you can just drop and drag it in navigate to where you've saved your file here he is these you don't really have to play with there'll be another dialog box just now when I click open that I usually change the settings in so import and as composition is good because we want all of our layers if we imported it as footage it would import it as one flat object which is no

t very helpful and that's all grayed out so that's fine footage Dimensions layer size that's fine because our document and layer size are the same because we've made it all 1080. so that's okay all right so here is our it's actually made us a brand new comp which is fine because it's brought in the comp and it's exactly the the right sizes that we need we actually don't need this other comp that we made before but you know how to make one if you do so let's just delete this comp and we'll just w

ork in this one that we've got already okay so our paper texture as you can see it's masked which is great but it hasn't got the multiply effect that we need anymore so that's quite easy to replicate in After Effects if you come down to mode you've got all your color blending modes that you would normally have in any other program which is great so we'll just put that back on to multiply so the first thing we're going to do is parent some things together so we have to animate less so our arm the

other thing we probably want to do as we parent is make sure that our anchor points are in the right spot because right now if you you know you can press if we drop down this menu and bring up our tools we're rotating from the middle of his arm which is not where arms rotate from so we're just going to use this is called the Pan behind tool or the Anchor Point tool and we're just going to drag this point up to where we want it to rotate from and it will scale and move and everything from this p

osition now it's not just rotate so that's in the right spot there and then we're going to parent the arm to the orange base which is his body so if we move this around that's his body there the next thing we're going to do is parent the type to the the back of this sticker because we're going to add a bit of rotation movement to the orange and to the to the text and the these orange slices as well just to give it a bit of you know dynamic easing um so the type actually and the orange slices can

all connect to the sticker background so that now if we hit r on our keyboard to bring up rotation that's going to all move together nicely the next thing we've got here is the face so that can just connect to the orange base which is his body the leaf the same but we're going to with the leaf we want this to rotate too and so we're going to use that same pan behind tool just to adjust it to where the leaf would probably rotate from which is about there our highlight also has lost its blending

mode so we're just going to make this overlay like it was in illustrator and that's done that which is good and we will parent this one as well to the orange base like so all right then what we're going to do with the eye is a little bit different we're going to pre-compose the eye and do our animation in a separate composition so you can think of comps kind of like art boards it's a good way of separating them out and keeping your layer stack neat so you can focus exactly on what it is you're t

rying to animate so if we select all of the parts of his eye so the star the eyelid the pupil and the eye back and right click to pre-compose we're gonna get this little dialog box which we and we're going to name it I you would just leave it as as these settings I think in this case it's pretty simple this one so now our eye is all together in this one layer and if we double click into it we get just the eye by itself which is exactly what we want so for this piece of Animation we're going to h

ave his eye this little star rotate and we're going to have him look up and have his eyelid sort of move up as well for a nice little bit of character animation so the star is really easy if you press r on your keyboard to bring up rotation we're just going to give this a tiny expression which is a very handy one so if you press alt and hit the rotation stopwatch you'll bring up the expression panel and all it is is time asterisks maybe like 100 and if we play that it's just going to keep going

at a hundred times I'm not quite sure what the math is here but it works and the bigger the number the faster it will turn the smaller number the slower it will turn so maybe 200 is probably good here so there you go and then we don't have to worry about setting any keyframes at all it's just going to do it and now we want to have his eye lid come up so it is kind of squinting as the animation starts so we're going to do this with positions so p on the keyboard to bring up position and we're goi

ng to set a keyframe so if you just click the stopwatch without pressing anything else you'll you'll set a keyframe here which you can zoom in on down here and see exactly what frames we're working with so yeah I reckon maybe about 15 frames in we can set another keyframe and that's our final resting spot and then if we go back to the start and then drag this down or you can just you know pull it around wherever you want here that's probably about you know where we want it off his eye so that th

at's probably all right but maybe it's a little bit slow and a little bit flat so make it a bit faster and then we're also going to add some easing to these keyframes so easing basically changes the velocity of the speed in which you know an animation moves so we are going to just right click and go keyframe assistant easy ease which will turn both of these into easy ease keyframes and if we look at this in the graph which is here you can see what it looks like you've got a nice curve now at the

start and the end so it's slow to start and then slow to end unlike what we had before which was a straight line as you can see there so let's just do that again easy ears you can also do it down here in the graph editor so we've got a slow start and a slow end which maybe could still be a bit faster so what I might do so that we can adjust this graph a little easier is separate the dimensions so you can right click separate Dimensions here x position is this way which we're not animating right

now so we don't need that one I'm just going to click it off but why now we've got handles here which we can use to adjust the the easing of this particular movement and because we don't really need to have the slow start here we just kind of want the slow in I'm going to make this a really steep curve so that it it's kind of faster the beginning and then slows in so something like that maybe a little bit faster again because a blink is pretty fast but of course what good is an eyelid if it's o

n the outside of your eye so um we need to mat this to the back of this eye layer and illustrator layers are sometimes a bit hard to work with so we're going to make shape layers out of this eye as well so if you right click and then go to create shapes from vector layer it will give us the exact same shape just editable in After Effects now which is really handy for lots of other reasons as well other than just this particular scenario and we're also going to do it with the eye back as well the

re we go and then we can just delete these layers we don't need them anymore all right so then you're going to go to your effects panel which is over here or if you can't find it it'll be in window effects and presets to bring that up and type in set matte which is the effect we're going to then drag on to the eyelid and then basically what this does is tell us from another layer in our composition when you want to see this layer and when you don't so we're going to go up here and select our mat

te layer to be the eye back which will then as you can see easily hide and reveal that when it's overlapping with this eye back layer which is really good but as you can see it's like not really bringing the stroke with it so we're just going to duplicate the eye back outlines and drag that to the top of our stack and then just remove its fill so if you go up here and you press the blue fill you get all the different fill options so gradient colors and that kind of thing but we don't want any so

we're just going to hit no and hit and now we've got a nice mat with our eye working pretty nicely I think for realism when you you know when you squint your eye your pupil is going to move too so we'll just do a simple the same position animation on the pupil 2 where that'll be our end State at the start we're just going to have it you know be a bit lower like that and then the easing will just make that the same as the other one so separate the dimensions here of the X and the Y there's anoth

er great plug-in that I often use called ease copy which lets you copy the exact same ease values there we go and lastly we're going to parent the star to the pupil as well so that the position of the star will follow the pupil too okay how's that for an eye go back into our animation t cool all right so let's duplicate that eye so we've got two as all oranges do and the face is in front so that's good because we don't want his little maybe a bit more overlap with the nose looks good and maybe i

t'll bring this slightly closer together cute all right how's that looking pretty good cool all right now let's add some rotation for the in you know sort of Animation in of this sticker so we're just going to get the sticker uh ground which is this background layer and parented to that remember is our type and our little orange slices and we're going to make this like negative maybe negative 30 I reckon but doesn't really matter animation is all about what you feel and then about 10 frames in w

e're going to make this zero so it's back to normal and then ease wise if we go to the graph editor add some E's to this I think same as our eyes we want a fast in and a slow stop yeah so it's kind of like whipping in is the movement we want and then we're going to get the orange base which is our orange guy and we're going to rotate him as well maybe oh we've forgotten to parent some things the eyes because we just did them parent them as well to your orange base yeah that looks that looks alri

ght I will explain this messy shadow in a second all right so maybe a little bit less so negative 20 is good because we want this to move slightly less than the outside and we'll give it the same easing as well something similar cool I reckon actually this back one can be more maybe let's do negative 50 so there's more discrepancy and you can also extend the length by a couple of frames of the orange so he lands slightly later maybe a little bit less maybe I went too crazy yeah it's nice cool al

l right now this arm shadow let's deal with that I think we will parent it to the arm because when he moves his arm we want the shadow to kind of move with him as well but uh obviously we want it to be stuck behind this circle so we will I think here let's use a track map just for something else so we're going to duplicate this orange base by pressing command D so you've got the exact same back that we want him to be masked by okay with this new update of after effects um we can now have a track

mat anywhere we like so you can use it this very similar way to Parenting where you select this pick Whip and um oh it's the other way around isn't it we want the shadow to be track matted by our base which has just happened there and you can flip it to be inverted or not inverted with these little toggles which is very handy if you're using an old version of artifacts it just has to be the layer on top and then you know use the same system here so that's pretty great if this isn't showing up u

m just right click click this top bar and you'll get these columns and you can turn it on it is the modes one is the one you're looking for there lovely all right so we've got a little bit of rotation we've got our shadow matted I think all he needs now is maybe a little bit more rotation on his arm to give a big thumbs up and maybe his little leaf so we've moved the Anchor Point for our arm so it's ready for us to animate and we're going to animate both the rotation and the position so R and P

on your keyboard and I might drag these keyframes back to foremost about where the rotation is going to end and we'll go yeah maybe another five or so frames up we're going to rotate it um when you when you give a thumbs up you kind of go out and then up and then settle back down so we need basically three maybe four keyframes let's see so we're going to go down first by let's say 10. and then another five keyframes let's go up to I don't know yeah negative 13. and then down again back to zero a

nd then it's nice to have an offset of two factors like position and rotation often work really well together so position wise when he goes down we might have the arm go down slightly and maybe a little bit to the right and then when he goes up we'll have the arm come up and then back to the same keyframe that we had originally so you can just copy and paste that in keyframe there and then we'll select all of these select them in the graph editor and easy ease them and let's just look what that

looks like whoa cool all right it's looking somewhere I reckon he's probably just got a bit too much sauce over here on this rotation so bring that down maybe it's more like negative seven and the other thing we're going to do is just offset these position keyframes so if you select them all and you can press alt and arrow keys on your keyboard to do this really fast or you can just drag them but about a frame different just gives that animation a little bit more character I think is what it is

it's yeah cool so he's going great all right cool let's just do a little bit on the leaf we probably want it to be as he's coming in it can settle so he's rotating this way so we probably want it to start back here with the rotation at a negative so maybe it's up here let's do negative 15. and then as it lands we want this to come a bit further down than zero so maybe nine and then it's going to settle at zero so again with some nice easing let's just see what that looks like in a basic woo I re

ckon it could probably be a bit tighter maybe this final resting is quite slow and we can bring back the keyframe a little bit more just so it matches the ease of the rotation because it's quite a slow probably also if you want to change the value of anything you can move these up and down the graph so that's that's obviously 10 10 degrees in rotation but if we want it to be more like five just move that down I might move this up so it's just a bit subtler there we go not so crazy of a fringe fl

ip all right so usually at this point I spend a lot of time watching this over and over and over again until I'm happy with it and I'll make very small tweaks to the animation because it really is about watching it over and over and over again sometimes to get it exactly right so I've just tweaked this a little bit more mainly just reducing the amount of animation on his arm I think I always over animate and then I have to walk myself back and then the last thing we want to do before we do a coo

l little sticker animation is just parent this paper texture that we have on top to our sticker ground which is our main rotation so now that will move with our sticker cool all right so now we're just going to do that last peel animation which is very easy and with just one effect but we need to have all of these elements pre-composed to do that so you could do what we did before and select them all and right click and pre-compose and everything or you can just grab your comp up here that you w

ant to pre-compose if you're using all the layers and just drag it into this comp button here and then you'll have the exact comp that you have with all of your layers but in a pre-composition the only thing we don't want in this pre-com actually is this background so I'm just going to command X to cut it and I'm going to put it in here paste it in there so now we've got our background and we've got our freshly squeezed sticker all by itself okay so we found page turn in our effects panel and we

're going to drop that onto our main comp here in any way you like you can drop it onto there you can drop it onto here plenty options and then as you can see we've got a lot of things to play around with here we've got the fold position so if you if you can't find it you can press this but it's this little dot here as well and you can pull this around to show you where it's going to fold from you can change which corner you want it to fold from so you know top left or top right I think I prefer

top right most of the time so like that you can change the fold radius which is sort of how round it looks or how flat it looks but I think most of these settings are all fine I would just like to give it a back page so that we don't see the sticker on both sides because at the moment it's rendering the front and back page as the same layer which is not what we want so I'm just going to make a Circle let me just reset this so it's flat draw a circle with your shape tool up here make sure you're

deselected off all the other layers so that it's going to draw a shape and we want it to be about the same size as our sticker here so that looks pretty good and I'll just call this sticker back oops tight properly sticker back and I'm just going to hide it because we actually don't need to see it we just need to have it so select back onto our layer and let me just move this so we can see if you go to your back page layer here and click sticker back now we've got our white there which is aweso

me but we want I want the opacity to be 100 instead of 80 because we're dealing with an opaque sticker here all right cool so that's our sticker let's give it a little bit of animation on this fold position so you can press the stopwatch to turn it on up here and then you on your keyboard will open any active keyframes which is a very very handy shortcut you again will close it so that's good one to know so let's go maybe maybe about 10 frames in just as it lands I think is when we want the peel

to finish two so we'll select that as our end State back to the first one and let's pull it right off and then we'll give this again ease whoa that's pretty fast maybe we'll slow that down a little bit cool I think I'd let's do the scale as well so we're gonna start it a little bit bigger than it ends and we'll give this fast in slow out all right that's looking pretty good but I think we're missing quite a bit of that cool animation that we did at the start apparently so let's just do a quick

time remap on this pre-comp layer so we're going to right click it and go time enable time remapping and then we're just going to shift this forward a few frames and our keyframes back and then drag that start of the layer up because this basically if I turn off this page turn effect it's just still waiting for this keyframe to hit and then it'll play the animation that we have from that first frame so it's a good way if you just need to extend it rather than going in you could go in and just do

move them all across and do it that way but sometimes the time remap is a handy little trick to do that a bit quicker so let's turn our page turn back on again and see what this looks like now oh yeah cool I'm just gonna you know we love an offset let's offset the scale a little bit happy with that and then because this is a vintage logo and you know we we like vintage effects let's add an adjustment layer to the top of all of this and we're going to put a posterize Time on top of this which al

lows us to control the frame rate separately so you know in this project you probably could just set the frame rate of this comp to 12.5 but you kind of get a bit more control with the posterize time and you can still export this comp then at 25 frames per second for Instagram or something like that so yeah posterize time kind of keeps it as an effect rather than the actual frame rate so let's make this 12 0.5 and now we're only seeing you know every 12 and a half frames rather than the full 25

which gives us this kind of sweet vintage look and that's it so there we go we've just seen how easily we can create a sticker in illustrator making sure that we're thinking about how we layer our design knowing that we're going to be animating it down the line and then we saw how simple it is to bring it over to after effects to give it some real zest I hope you enjoyed this course let me know in the comments what kind of work you're doing and if you have any tips or tricks for how to do that r

ound trip from illustrator to After Effects I'd love to hear about what you're working on till next time stay fresh [Music] foreign [Music]