Motion Design Makeover with Evan Abrams - 1 of 3

[Music] [Applause] [Music] hello everyone and welcome to our Friday we're gonna do some motion design makeover here on be Hance live thank you for joining us I'm Evan Abrams and I'm here to take us through some really brand driven motion graphics hopefully you're hanging out with us here in the behance live chat if you're joining us on YouTube then maybe transfer on over there so I can see the things that you are typing away throughout this process what we're gonna be doing is looking at some brands that could maybe use a little bit of motion bit of motion love to their current graphic design process so this week we're gonna be looking at a non-profit from the Bay Area taking a look at their their current logo situation and then trying to make that move so like I said jump into the chat and join us on this adventure will be using illustrator after-effects moving things around and hopefully by the end having a nice logo we can all look at so without too much further ado I've got the the Behance chat open in front of me here so if there's anything that you want to get get to me you send it there but in the meantime let's just open up the open up the screen here and get a look at what we're doing so this week we are going to be having a look at eight to six national hsx national are a literary nonprofit and they they do a lot of good work with creative writing specifically empowering youth creative writing and taking a look through their stuff if we pretend like they're a client coming to us from motion design then we need to assess where their brand is at currently and then we're gonna look at strategies and what is going to actively help people out what can we actually move around to make things happen so they were gracious enough to send along their logo which is fantastic here's how most logos come to us for about to be doing some motion design and wouldn't should know it it is not in an ideal format but we're gonna struggle through that and figure out what the best way is they animate this thing so with all of that in mind what are we really looking at here we have to first assess what these people are all about where are they going to be using these materials and how we want to make use of them so so make sure I have chat open here in front of me so that I can get all of your wonderful comments coming in and it would be great if y'all could just let me know who you are where you where you're from and what you're doing in motion design all right and here we are so the first thing we want to do is start assessing how we want to bring these elements on if this is a logo and we're going to use it say in some video work we need to think about the context in which we're going to employ deploy this logo so right off the jump I like to start looking at how people are currently using their their logo marks in video so here we have they seem to repurpose a little bit of it down here for a kind of lower third at the moment but really at the end of this video is where that's where my heart goes out to people where we have at the end of a video we're just fading we're just fading to the logo and you know a nice nice dip to white is okay but I think we can do much better in fact I I know we can so what we're gonna do is try to elevate what we're seeing here and have it in keeping with their current brand guidelines ideally a brand is able to send those to you so for those of you who may not be aware brand guidelines are sort of a document that will take you through what a brand is about how they speak to their audience and all the technical bits of like colors and logo usage so let's have a look at the brand guide of eight to six national I know we said we'd be using illustrator and After Effects but wouldn't you know it we've got to get Acrobat Pro getting a little bit love today as well this is the brand book of eight to six national and at any point if you're gonna be doing very branded work I'm gonna highly recommend that you get in here and have a look at what people are currently saying about their brand and also I want to say a big hello to everyone in the chat there we've got Lindsey Palmer good to see you we've got Cara Butler we've got people from all over all over the world here we got Mexico City we're Istanbul we've got Tehran so it's so great to see all these people out there oh hey Kendall how's it goin it's so good to see everybody out in the chat so this is the brand book of 86 national in here we can understand what they're all about not only from a graphical perspective but the history of a brand you know what their mission is and these things I think are very important when understanding the character of what we're gonna do so in motion design we can do just about anything we can we can animate these parts on in any way that we want but what we choose to do is very critical so for example we can see here the technical ways in which they represent their logo and what they do with it and we see we've got the primary logo the basic logo and we can see that any animation we do to this primary logo has to work for all the other forms of that logo right so if we start doing really really fancy work with it the eight to six we would probably want to remain consistent throughout all of its iterations in all of the ways it gets used so that's a big consideration when you're thinking about this stuff the other thing you want to think about is how is this actually deployed and as you can see the acceptable ways to use it are as it appears and then inverted and then using that white space over top of other colors so that's gonna set up some other rules that we have to play with a brand guide it's like some rules that are gonna help constrain some of what we want to do but we're looking at this thing this is a writing right nonprofit I guess logically we should be using some kind of right on techniques maybe maybe let's think about them put that on the back shelf just for now there's gonna be a lot of book puns in here so you know don't get too dog-eared about it now when we start looking at how this brand communicates it's very useful to look at things like their voice so I love that eight to six National that's the brand that we're kicking this off with has this stuff this kind of brand voice so we're doing that litmus test of what are we doing with their logo remember that we want to keep it joyful optimistic strong and a little bit weird which I love I love that we're able to look at these things that we can really understand when we when we think about things from the client perspective what is joyful what is strong was optimistic what is a little bit weird so let's keep those ideas front of mind as we move forward all right as well something else that I really want to focus in on here is their core values and specifically because they show their core values as icons and we can see that there is a lot of circular forms a lot of shape we have this line around the outside we see repeated twice which is also similar to what we were gonna find in their logo if we go back to the original asset all right we got circles we have this line circle around here okay maybe there are elements of these core values that we can bring into our animation so with that in mind we should probably start preparing the artwork and start considering what we're gonna do so here in Illustrator this is usually how a logo will come to you someone has generally made this for print and we're gonna take this and transpose it into some kind of moving situation and right now if we just twirl in let's twirl into the layers here and you can see just a heap of compound paths hanging out just everything's kind of disorganized because this has not been made for our uses we're going to to repurpose this based on what we think we're gonna do all right so for example maybe I don't know if you basically basically everybody in the chat I'd like you all to to think like producers a little bit if you have any suggestions for how things should be moving how you might do this you let me know because you know I would love to see what everyone's take is for me I think we have to I have to do something with this variable width font up here I have to I gotta do something like a write on a nice a nice smooth right on with that I think would be very nice I think that's a little bit playful I think I want to do something with this line around the outside I think I want that to come on like that's being written on but I want it to be in keeping with maybe this kind of a shape here from the you are welcome here core value so idea of welcoming I think is very important so I think we want to capture that kind of movement and then I think what we want to do is something kind of bouncy and fun maybe with the text keeping in mind that we don't want to get too crazy with this because as it's gonna be used it doesn't need to be distracting right and yes Kathleen good to see you here Raymondo good to see you here Oh makes the number a character of Raimondo is saying that's that's very interesting so we could definitely do something kind of character EU with these we definitely want things to have character right I think that's very important then we think about motion we think about what the what the character of motion is things can be robotic they can be organic so we have a few challenges and I think we want to always start by dividing things up into their component parts so we can kind of get a better look at them so I think I'm gonna start by creating new layers and just pushing things onto their separate layers I'm gonna recommend everybody do this as you start messing around with logos and design assets and just start breaking them out figuring out what you think goes in front of other playing with positive and negative space one of the really interesting things to deal with here is going to be dealing with compound paths which is something that After Effects doesn't do well but illustrator does very well so trying to reconcile those two things may be may be difficult but let's get these things onto different layers and start moving them around like we'd want to put eight to six on its own thing we would probably want national to be up on its own thing so that when we import this into After Effects everything's gonna be nice and organized we don't want to have things kind of go all crazy Kendal's say get things right on with a pencil or a pen so definitely definitely a good way to think about it what's really neat about some of these logos is you know we can definitely go for an obvious thing like like a pencil is just gonna shade this whole thing in just a job that could be a way to go personally I want to keep a little bit clean you know I want to try to keep it as clean as possible and always to reduce them or of extemporaneous or extra elements that I'm bringing into play I want to make sure that I'm not not over adding to these things but definitely we can always bring in external things and bring that stuff in so we're getting things separated out I'm gonna go a little bit cooking show here and show you how I've broken this thing down already notice that I've made quite quite a mess of layers out here Jason's asking to need to add do we need to name the layers in a particular way you name them in a way that makes sense to you that you're going to remember and that will make almost intuitive sense so not only you but anyone else who would open the file that's my advice on naming and naming them for content I think is what you want to do so for example I've got here the 8 to 6 breakdown I call it so since I know I want to do kind of flourishing kind of right on situation then I've broken down this shape into overlapping say commence now wait a minute where where are you doing that are we just gonna animate some paths and have a good time well that starts to get a little bit complex inside of After Effects when you start to have overlapping sections life gets a little bit more complicated so by taking your original shape and breaking it into more manageable chunks overlapping segments are gonna become a lot easier for us to deal with we don't have to do anything to the two because that's just how the two goes we could probably bring the song with a path but already you want to start planning how you're going to attack these things how are we gonna deal with these so if you're wondering hey how do we how do we break up this 8 into this kind of a shape well the way we would typically make such a thing go let me just start messing around with this switch our colors out here so we can get a better look ungroup this a whole bunch of times because everybody likes to make groups for some reason we can take an 8 for example and we can start drawing these little lines on here so I'm just gonna grab the line tool and I'm just connecting anchor point to anchor point like that aha and then kind of making sure that these little things are snapping to their constituent anchor points so what we can do here is maybe we draw another line just straight down the middle like this select all of this stuff and then we are going to use I like to go shift em to grab my shape builder and then I stick these two shapes together so you're just gonna grab here click drag now you've made those shapes together and now we can take this shape and we kind of break it out excuse me shape you know you're isolated now what do you think about that and now we can we can kind of just move this back into place snapping things around that's a very quick way to break out all the shapes you want now I think it's pretty critical to always think in terms of where things are going to be going so in this case breaking these two shapes apart I've kind of decided that I'm probably going to be writing it on from like down here up and around and then connecting back to where it started it's one way to go otherwise you'd want to think about different orientations of the shape but hopefully that helps you in carving up your shapes the six over here so a little bit weird to draw a bit of this little flange here or this little extra bit to make up for this part because I'm planning to have this right on from the inside and out it's kind of my than my idea there cuz I feel like the flow from this is gonna go from the eight wash from the eight then into the two then coming off the tip of the two over onto the six then we should be done okay so that should do it definitely a good good way to go everything else in here I think we're going to make those a little bit more basic so I'm gonna leave national as a bunch of shapes I don't think I want to tie around with that too much but what we get into After Effects we'll think about what we want to do with that the other thing that frustrates me to no end on logo work is when something that is so obviously visually a stroke has been converted into a fill hopefully happens to us all could have been left as a stroke but we didn't so there is a little trick to extracting the midline of this stroke if you'd really like to if you already know what it is called it in the chat but there's like a one minute delay so it's gonna be difficult to to beat me to the punch on this what I like to do is first take this thing always put things on new layers so we can isolate them I like to switch the fill for a stroke nice and then what we're gonna do is we are going to ungroup as many times as it requires release the compound path which gives us two separate unique paths to deal with and then we are going to take these we're gonna go make it a blend so we go to object blend make blend then we go object blend expand blend so even if this is a complex line a very complex kind of shape it could be an ass about two curves this gives you the midpoint of that line because it's trying to create a shape that is halfway between both of them and ideally if both of these things are using the same number of points and the shapes all makes sense you're gonna end up with this line that's in the middle just ungroup that a bunch of times and then we just expand out that stroke until until it happens to fill up all the space that we want certain things can get in the way and things can get wacky from time to time but that is my preferred method for extracting that midline and now whew burning my windows everywhere and then once we have this stroke it's gonna be a lot easier for us to use like a trim paths to just make that come on let me super good so without further ado I think we've created enough assets just remember that when you're confronted with existing assets take the time to break them down really understand what you want from them where you want to go so that's kind of my spiel on that so let's open up after-effects my interface here is little bit stripped down kind of thrown away all the things that I don't really want to get into right now but we've got a composition out here let's start bringing in our assets you can always simply just import import your dot ai file one thing I'll say is please do not bring in EPS files necessarily save them as dot a eyes and make your life a little bit easier anytime you're importing dot a is gonna ask you if you'd like to bring it in as footage or composition composition is what we'd like and we can go with layer size or document size in this case we're going to layer size because I'm gonna be moving things around and we're gonna be things shouldn't shift around too much because this is a very locked branded asset we don't anticipate a lot of alterations to it and because we've broken it up already ahead of time I think we're pretty safe to do that so this is one way of importing the stuff how we would like we end up with all of the layers just how we named them in our our previous application there in Illustrator and the ones that we weren't looking at we're not looking at now the ones that have the eyeball on so you can turn them on and off and that's all good stuff so that's one way to do it I'll say I much prefer using a little plug-in called Overlord this is maybe one of my favorite little bits of secret sauce that I highly recommend people get into if you're not familiar with Overlord this is this is a great piece of kit from Adam proof and it's a it really helps to bring things in so I'm gonna show you how that goes down real quick here you can just select a number of paths I'm going to ask for them to explode when they get inside pretty fun and then you can start pushing assets from one to the other so you'll notice it has exploded those two into separate layers and they remain where they are relative to the artboard as you have a bunch of options in here this is a great way to start bringing things in so I'm just gonna go ahead and push those in rip fun stuff the only problem is that the naming convention kind of gets broken in here you can see some of the names are good but some of them are not you'll notice that I am not so interested in the colors of things that is because we are going to do a little trick at the end to make sure that we are able to make things happen in the way that their brand book has requested so that we can make things be red and white or you know white and nothing or you know see-through we want to try to touch all the bases with that so how are we going to draw this bad boy on well one thing I would recommend doing is let's bring on all of our assets first let's get try to get through all that so that we can later get him to the the rest of the stuff so let's push the bad boys on as things are coming on I'm gonna really recommend that you change their color into into groups that make sense and you get them into an order that kind of makes sense and I like to use I like to use green for background elements because the grass is green and that makes sense in my head but so we've got these numbers these can all remain the same color I think that's great now we're gonna get into things that need to be grouped together or not depending on how you feel about them so let's bring in national so you'll notice that national has made a whole bunch of layers I'm going to pre-compose those call this national to try to keep all of that nice and organized because if we start doing little per character animations in here I want to keep them keep them separated we broke our lives lives in order and then I think because these things these writing writing publishing tutoring are we going to actually animate them on a per character stuff so tough to say tough to say I'm gonna say no because we only have so much time here today so let's push that in so you'll notice I've unclick t' so explosion but now writing is its own separate thing now let's go grab publishing if you want to select everything that's on a illustrator layer click this little box next to it I don't if you can zoom in and see what that's all about but you just click this little box it selects everything pushing that in and now we're gonna get tutoring pushing that in nice so I think these can all be fuchsia because they all kind of have the same hierarchy visual hierarchy so now we're gonna push this shape in boom good so here's our component parts good stuff and let's start animating some of them all of these letter parts these components I think we can go ahead and pre compose those I think they're gonna be isolated and not touching anything else so I'll call this 8 2 6 grouped wonderful now we're gonna go to 8 to 6 grouped and how about we figure out a way to bring this stuff on to actually you know what you know what take it back I don't think that was necessary at all let's go back here and what I'd love to do we're looking at things pretty small right now so I'm gonna go new null object stick this at the bottom one of the big disparities between print things and video things is that in print if you have an EPS or similar those things can be infinitely scaled at the printer here we need them to have a certain pixel size so you'll notice this pixel size very small so let's take everything and for now we're gonna parent it all to this null and let's scale this up by a nice normal number boom like that well wait a minute why is the ways that we're national all nasty now well we have to turn on collapse transformations continuous rasterization this little switch here if you end up with nasty vector objects you go ahead and click that and you'll feel better so just clicking that on and off because that's gonna preserve all that stuff okay eight to six let's deal with you now we gotta we've given you enough time to think about what you've done with your life so eight to six how are we gonna write this on I want to do a fairly complex right on but I want to start working until I understand the timing that we're gonna get into anyone else there in the chat you let me know if if you've ever had trouble doing write on techniques with variable with variable with fonts happens to me all the time and also I will say if you're watching this on the YouTube I want you come on over come on over and join us on Behance that's where the party's at that's where all the all the people are hanging out it's where I can also read read comments and questions so if at any point if any quandary x' you let me know and we'll get to it so eight to six I've already decided that I would like to animate this on swirling let's see let's go from the top down to the bottom and I don't really understand the timing I'm going to use yet I don't know I'm figuring it out we're doing alive so with nothing selected I got my pen tool I'm just gonna draw we don't really need a fill on what we're doing here yeah we go and we are going to just simply start drawing a rough shape a rough shape this doesn't this doesn't have to mean anything this isn't going to be important just make sure that it has roughly the amount of length length and distance that you want this thing to have alright so there we go coming through the middle and went outside and closing it off boom okay normally if this is a mono width kind of font if it had very little variation between the thick points and the thin points we might even use this kind of figure eight to to just use it as an alpha mat for another layer totally doable but in this case because things get fat and thin and on it's all over the place and I want to say I'll say thick and thin yes I don't want to judge this font what I'm gonna do is I'm just gonna use this add a trim pads to Orlando trim paths really quickly we're just gonna animate the end percentage and it will go from zero at the beginning to a hundred percent can animate all the way on and we're just going to observe this and figure out how we feel about how that comes on we're to imagine in our mind what if this was the whole thing so are we happy with that I don't know because I need to see it in context okay let's keep going so I'll take this and alright I think I want to start up here and we're going to make we're making basically a second second one of these all right there we go we're going around and then we're gonna come down here and it's gonna be like this okay well it's gonna go again this part of the process don't spend a lot of time on it so we're gonna copy this trim pads and we're gonna paste it on this fellow up here good make sure that shrimp has ends up in the group you want it to be in or else you will be sad okay and then that one there comes on okay that's kind of okay I was fine let's let's keep going though cuz we need to do the six as well and we need to see all of these things in context so you can always just duplicate the layer and then you can go into this path grab the path points make sure the weekend let's see our path and then you can try to manipulate them into place if you'd like it's one way to get about it but do Badou let's just make sure that we draw the six here and we decided that we want this to go up and over and down and around and then up over and curling in on itself okay good so with this series of thoughts in mind copy this stick it in here okay I'm hitting you on the keyboard to just bring up the keyframes all we want to do is figure out the timing so go swish whoosh we can then start to think about all right well that's not the timing I want at all so what we're gonna do start it a little bit slow and then it starts to build up speed maybe we'll start to pull these ones apart okay good good good and then maybe out in the end we'll ease that one as well hitting f9 how do we feel about that not as good pinch these in lovely I'm getting into this now this is where we want to start thinking about the nuances of our motion of how each of these I think is gonna come on we're gonna just massage these around until we are happy and totally fine with what's going on if we're happy with that then we can start to do stuff we can go ahead and start making masks that are gonna follow this little motion guide that we've created okay and having this guide allows us to make more creative use of masks without having to sacrifice that kind of flexibility so let's see here let's go ahead and the one that we need to start with I think it's that blue one yeah it's the blue one so it's gonna be this one right here I love that we can combine together all of our all of our masks all of our paths which is always fun so all you have to do is click this button here jewel create shapes tool creates masks now and now we're just going to make a little mask whenever you're masking out stuff like this I really recommend you kind of go through and we always want to make as few points as possible just because that becomes onerous and difficult and we want to make our lives easy now we want to set some keyframes on here and we want them to follow this this eight so at this point the mask I'm totally on so we can just go ahead into our mask setting a keyframe here I'm gonna zoom in its way down to the bottom of the screen it's not very nice but it's just down there you could kind of believe me and we're gonna kind of start tracking back a little bit all right so at this point when can we start packing up some of this stuff you can go frame by frame but that's going to be fairly onerous we may have to do it ultimately the one thing you want to pay attention to is this line as it cuts across these things and always keep in mind on your corners how those things go so here we go so this is gonna be cutting across here good does this one make sense haha nope so here we go dupa do making sure that this all makes sense don't grab things by accident all right now well I have to do this this a fairly mundane thing here why don't we go ahead and in the comments let's start thinking about how we're gonna deal with some of the more mundane text in this whole thing what are we gonna do about the word national what are we gonna do about the writing tutoring part let's try to brings the brainstorm some ideas about that love to know specifically what kind of motion to you feels joyful and strong and a little bit weird if you remember our brand notes that we're going back to things need to be joyful strong optimistic and a little bit weird so keep those front of mind as we continue to kind of go through this little process here to try to move this ball forward a little bit and the stage all of the points will be over here good so this will start to come on did you do good good good that's great let's move this one forward [Music] oh I didn't click that button and make sure I click that button here we go to do to do did you do like so all right then we go up here into the mask now it's gonna be really interesting is that this one closes up shop real quick so that mask is gonna be like there now one of the reasons that I kind of like to do things with this manual way I said I am a neat freak sometimes I can really and really get into the weeds with these kinds of adjustments all day long and that like so and here you'll see I'm bunching I'm trying to bunch the points up together right that's one of my one of my things that I like to do is to just bunch them up so they'll kind of stack up a little bit so let's look at only these to see what kind of a good job we did I like to congratulate myself all the time so we're gonna end up with this doesn't that look nice as this thing snakes around and keep in mind we don't need to keep these colors why we can change them both to the color we originally intended in here once you look like that oh look so seamless you wouldn't even know that we spent all that stuff messing around now if you need to alter your timings a little bit later you can always grab your points these little fun little tip hold down alt or option on the Mac and usually this works pretty well to make sure that things line up so whenever you have these kind of gaps these kind of cuts that are gonna come through I always make sure that you are keeping in mind that may may become a weird gap sometimes so we just grab this sure we can slow things down by grabbing the points holding alt and moving around whoo disable preserve constant vertex good point there rolling this definitely so that we want to get into but but but let's keep moving this a bad boy along we can assume that we'll be able to roll through that's kind of the eight and then we'll be able to do kind of the same thing let me turn adaptive resolution off for the rest of these bad boys let's see should we go through that I think we need to talk about the word national here I think we need to do something about the word national and I want to do something that is maybe joyful maybe this can be more joyful or more strong I don't know what do we think I like them I like the flourishing filigree that feels joyful and kind of quirky to me national national what should we do I would like to maybe make this pop on let's see oh what is what is e smart design asking here why did I make two masks isn't it easy if you duplicate The Strokes trim increase the stroke change to black and make it luma yeah it's an interesting interesting move to explore I've usually done it this way where I've got kind of the principal artwork and then I put a mask on top of it if only because this technique also works when we would if we were dealing with say a bitmap image as well which could be something that comes out of Photoshop or comes out of also who people are okay okay now we're now we're getting all the producers in the chat this is what I like to see when you're here on be hands live we want to know what you think so in the chat we've got people talking about bounce in bounce up from the bottom kendall you and i that are thinking the same thing we want that kind of springy bouncy feel out of this stuff so with all of these things we need to move their anchor points grab your anchor point Pan behind tool grab all of these things holding down command or control and just go ahead and move that down to the bottom there are of course numerous new humorous scripts that can help you out with this kind of trouble or speaking of trouble don't look at me attitude teeth alright go go get that down here on the bottom I think middle center is where I'm gonna want these I think a little bit of rotation could be nice and playful mm you know what here's here's where I sometimes run into some into some thoughts like with an N does it make any sense that it could be rotating on the middle here I don't think so that part's not actually like on the ground man if there were a kind of ground plane under this why would how could the end to be rotating on it there's nothing there similar with the a like for the a be rotating in from over there let's figure it out later so let's start by trying to put in a little bit of a scale on I want to do it once and then copy and paste it to all the others so let's give that a whirl I'm not gonna bog you down with expressions so if you want any of that there's a whole channel that I've dedicated to boring people with that nonsense but in this case we're just gonna use some nice keyframes on the scale let's start with the scale setting the keyframe on the scale and the old stopwatch down here as we go I'm holding down shift I think page down move ahead 10 frames that's kind of a good night my sweet spot I like to start at and I'm just setting a keyframe there and a hundred then I dial back and bring this to zero okay so with that in mind what I want to do is now ease this hitting f9 we're gonna go to the graph editor currently we are looking at a value graph a value graph we can look at a speed graph but I want to look at a value graph and I want to look at this value graph so I can start pulling these handles and now I'm gonna ease this keyframe here we can use keyframes in the graph editor as well so if it is for example a auto bezzie a or a linear all these things we can change them here in the graph editor I'm gonna grab this handle pull it up pull it up above the line and I'm just gonna zoom in a little bit so we can really appreciate what this line is doing so this line is saying we're going to go from 0 above the ending value and then come back down does that look like boying oh boy is that fun okay look at it go it's so bouncy so joyful right that's the idea we want to get into now granted you can use a lot of things like the inertial bounce kind of expression but I think this is nice and quick because we're up and then we're there and do I want to be any faster slower thinking about it thinking about it I kind of want to dial this in before I start transposing this to other things but I'm gonna copy this let's move it move it ahead just copy that scale property select everything else paste it there good everything's popping on at the same time I'm into this we're popping off it's popping on it's great now there are innumerable innumerable ways that we could start sequencing these things push them around making something happen there are many many scripts and expressions if you have a favorite one you go ahead and shout it out in the comments I would love to know what everyone is using for for their kind of automation what I sometimes like to do I just play it simple you know I just stagger them all by one frame which you know if you want a fun way to do that we can just always if you want to keep it vanilla you can trim your layers to all be one long select them in the order you'd like them to be sequenced say from the bottom to the top animation keyframe assistant sequence those layers whip sequence them up and drag them back out this is a pretty old-school way to do that but I like talking about it anyway and always always always make sure that these things go off the end if they're meant to stick around make them stick around now this is pretty nice these things are coming on I think I want to tighten that up so again we are selecting keyframes we're holding down alt and then we're given to a pole so they all kind of come up they all kind of like sigh into into a contented state at the end oh isn't that nice isn't that fun oh boy weird greetings from Tanzania well hey Tanzania thanks for coming out this is fantastic people from all over the world Turkmenistan I see in the in the chat as well all over the world so so pleased that you're coming here to behance live to spend some time with us okay so we've got we've got a little bit more time here we've got national I'm happy with how national is coming on and we can see oh yes there we go I think what I'll do just because I want us to have a nice kind of full look at how this thing goes we don't need these layers anymore those can go away middle bar we will keep these ones we will put down what I think I'll do is I will just start duplicating so I want to duplicate this eight if only just so that we can have we can have kind of a full version of how this thing might look and duplicate that I always end up run another time on these things it's important to work your way through all right here we go doo-doo-doo and now that these are completed I'm gonna make those eight to six and that can hang out eight eight eight I don't like that at all we'll come back to that so so we've got our eights we've got our national we need to do something with the rest of these oh no one's here see who Slovenia oh my goodness so many people in the chat I'm loving it let's go let's try to do something with writing publishing and tutoring because I think those need to come on and they need to be faster than the existing things we are doing some write on stuff on the timing of these let's get national coming in later we oh that's gonna be good I'm happy with this now we need to go to do to do let's come back to that we said one of the main things that we wanted to do was to integrate some of their core values in here how are we gonna do that two of them I want to point to specifically that kind of inspired my I love this Venn diagram of these two things coming together and I also enjoy this line coming around full circle because we have both of those elements kind of present here as well so let me just make sure that everything is parented so that when I start sorry scaling this stuff there we go that looks nice when I start rescaling the stuff starts to make a little bit of sense let's go ahead and take for example let's take where is my big red circle back here alright if we want this thing to kind of Venn diagram in and we want this to to behave like a Venn diagram I need two of these so let's go ahead and duplicate this thing wonderful this is the resting state we want to end at and let's see let's just solo these so that we can work on only those all right and let's go ahead and set keyframes on their position I hit P to call that up let's go ahead maybe 20 second or 20 frames set keyframes here and what we want to do is move these two things apart and how much we want to move them apart it's not totally sure yet but I like to bring up a little proportional grid yeah we're just kind of outside that pop up on and see if we're gonna intersect in the middle maybe they can start here okay what I'm doing is I'm holding down shift and giving these things a bump I like things to work in even even spaces because I am a bit of a nut sometimes and these things are now merging together as they move in cool let's go ahead and ease that let's look at there to speed a graph we don't really need that reference graph up here I'm just gonna grab this squish it like so so it kind of comes together now these things themselves probably shouldn't hang out like that let's go ahead and deal with their opacities a little even though I'm loathe to do things with opacity I will be honest but we can kind of bring it on like it's coming into focus is that what we want oh I'm thinking about it thinking about it let's see maybe they resolve kind of at the same time that's kind of a fun feel to it a little bit mm-hmm one thing that I kind of dislike is that there is kind of this ramp up that happens right that yeah James Bond vibes exactly which I would not describe as a joyful franchise a strong franchise certainly but maybe a little joyless at times so let's see I find that the ramp up here is a little bit much because when you're adding opacity to each other it's not like one plus one sometimes like one times one and kind of understanding that it's a little bit important now we could say oh I know well we'll just go ahead and use like the use the Alpha add mode mm-hmm now the inside is darker than the outside and we're at full opacity probably a bit too early right and let's you know what I'm actually kind of into this that is now working at it though it does kind of feel like we've been knocked in the head and it's starting to resolve itself a little bit something else that gonna be fun to do is to rather than deal with two things overlapping with opacity we can do things like we can deal with them a little bit more abstractly we can have say one of them be the alpha mat of the other now it's more like this thing is kind of expanding it for the middle that kind of you know that kind of feel more more fun than before now it feels kind of like a balloon and balloons are the most joyful thing in the world so you can go with that I'm happy with that and that's just by using it we're using one as the two as the alpha mat here in the track mat so we're able to link those things together so how are we doing I think we need to adjust some timings let's get these green things coming in first that's pretty close yeah feeling this feeling this good so let's see what else can we do now that I'm seeing it now that I'm seeing how things are going this little element here not really much to do here I think we'll just keep frame this path so we'll go here move this ahead doctor and we'll start it off there we go hitting the keyboard maybe that produces some good ASMR I don't know but I'm just adjust our graph like this ooh now that is having a nice relaxing effect on me okay so dial it back a little bit we are running a little bit out of time what I'm going to do is I'm just going to not look at these for now mmm and see what we can solve while we're here let's solve this bad boy up here the outer circle add a trim path and trim paths coming into the finish line folks and of course I do like so one thing that is nice to do with your trim pads well it is nice to have them kind of explode on and then kind of slowly go around because of the thinness of this line it's not soup enjoyable to see it kind of burst into the scene like that but something that can help you smooth that out let me remove those four portion grids so we can enjoy is to go ahead and use the offset as well or a rotation at the same time so let's say we just take this and we rotate it like 90 that's we're going on so they kind of meet up so there's a little bit of extra motion as it's going that can be a little bit helpful so that's right the ans mo in ASMR is you know stands for Adobe live sensory meridian response okay so we've got this thing going on and one of the things that we talked about a little bit is that we need this to work in inverted or on top of things as an overlay so what can be useful is to rather than working with colors is to simply think of it all as positive and negative space so what we would do is go back to that go back to that brand guide and have a look at the positive and negative spaces oh and I'm gonna stop using my scroll wheel to do this here we go so we need white on the outside white on the inside good so this thing these backgrounds here these are gonna be bright yes that means that the eight to six the eights of eight to six me black good the thing here if you want things to simply be filled in you can always apply a fill to them eight boom good like this and now we will take finally oh where were ya outer circle you're gonna be white as well fun okay so we've got this situation going on if we turn the back black background on you get this you know what let's make this look more like their basic logo there we go I'm happy with that we don't need this lets get that middle bar out of there so this thing's coming on it's working out the last tip I'm gonna do just before we sign off because we do have to get going our day is winding down we can take this basic logo we can put it in a new composition and then we can use things like tint we can use tint on it to change it to all kinds of colors that we might desire or you can use it in different blending modes to go over top of footage anyway we're here at the end so I must leave you thank you so much for coming on to the program and hopefully we see you next week as we continue this kind of thing thanks again and have a great day you

Channel: Adobe Creative Cloud

Views: 8,573

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Id: qZCeUwQ_qHc

Length: 56min 46sec (3406 seconds)

Published: Fri Jan 31 2020