Hi there we're Fyero Studios. Welcome to this tutorial, in which we're going to animate this illustration that we've got from the hands of Freepik. So let's go! First, we're going to layer our illustrated project in layers. In this case, as it's a rather complex illustration with quite a few parts, we'll divide it into different illustrator files, so that the layout in After Effects is just a bit clearer. However, the first thing we're going to do is to copy all of the components. And create a new 1280 by 1280 file. Paste those components in the new file that we've just created. And enlarge it to 256%. Once we're done with the transformation, we'll create different groups in different Illustrator files. For this, we're going to be using the same operation. We'll copy in this case these two components and paste them in a new file with the same 1280 by 1280 size. Now, we can start to distribute our components into layers. Keep in mind that it is always better to isolate those components that we wish to animate. Once we've classified all our layers, it would be convenient to rename them. After having organized and renamed our layers, it's important that we individually confirm that we have isolated to each layer the component that we are going to animate. However, in the case that we should have elements that are the same, like for example, in the case of the lines, we have four of them. We only need to isolate one group on its own because later on in After Effects, we can duplicate the animations of those three lines and move them to the other three groups. Save the Illustrator file and let's go back to the document we enlarged and and repeat this operation with the rest of the components. For this illustration, the best thing we can do is to separate the group of the primary components into individual Illustrator files. For example, the characters, the doves, the balloons, the flowers, the text... And also the more decorative elements that are part of the background. After generating the Illustrator file and organizing our project, it's time to get animating. To do this, we're going to go to After Effects and import the files that we've created in Illustrator. It's vital that we select composition when we import and keep it to the same layer sizes. This won't only make it easier to navigate, it will also make the project take up less space. The first thing we're going to do is to organize the project panel in files. And also, as a step before starting animation, we're going to create a main composition of 1280 by 1280 with a duration of 250 frames. We're going to start animating the components that require an entrance animation and an exit animation. So let's start with the text. For this, we're going to go to Illustrator, select the text and we can copy it to the main composition we just made in After Effects. When we do this, the text is pasted with the attributes and properties that it had in Illustrator. And we can also animate it in After Effects as a text. Before we start to animate it, we're going to move it to the exact point it has to be in. For this, we're going to start up our main composition, and we're going to lower its opacity. We're just going to use it as a guide layer, we can now select the text and position it. To animate the text, we're not going to use the layer transformation components. We're going to use the animation components. Which is going to let each letter act in an individual way. Firstly, we're going to add a scale. Open the range selector and we're going to click on ramp up. We move the scale to 0, and we animate the offset from -100, to 100. We're also going to change both speed values to 100. As well as adding a rotation of 90 degrees. And now, we can see what our animation looks like. To finish, we're going to add a scale again. And we're going to follow the same instructions. But this time, we're going to give a value of 110 to the scale, and we're going to animate the offset from -100 to 100. I'm going to shift these main frames a few frames. And we're going to add again a rotation, giving it a 95 degree rotation to the left. That way, we can get that little bounce both in scale and in rotation. We're going to add in animator 1, the stroke width, applying 350 pixels. And to finish the animation, we have to do the shading. To do this, we're going to select color and we're going to copy the hexadecimal code. And duplicate the layer. We're going to go to the Character panel and we paste this code both in its fill and in its stroke. We put it below the white color text, and we position it using the original image as a guide. If we select it and we take a look at the appearance, we can see that it has an 80 of opacity and the text below 50. For this, we're going to give it 80. We duplicate again, giving the one below 50, and with this last layer, we do the same, I position it right where it should be. The only thing left to do is, to shift the three animations one frame. This would be the result. The next component that we're going to animate is the flowers. For this, we're going to economize the animation. We're just going to create a scale animation that goes from 0 to 120, and then goes back down to 100. And we're going to modified its peak curves, so that it starts quickly. Slows down at 120, and when it gets back to 100, it decelerates. Let's have a look at the result. We'll copy the animation that we've just created to the center of the flower, and we're going to paste it to the petals. Once we've changed the anchor point, so that they stem out of the middle of the flower. Next, we're going to shift the petals across one frame, so the animation runs through each petal individually. And to make the animation an infant animation, we're going to create a null object that we'll put in the middle of the flower. And in its rotation, we're going to apply a time expression that will multiply by 20. Now we're going to link all the flowers different layers to the null object and they're going to follow the movement. We're going to do the same operation with the blue flower. In this flower, so that it doesn't spin exactly the same as the other, we're going to change the time expression to multiply by -15, so it spins in the other direction. We'll shift all the blue flowers frames, so they don't show up at the same time, as the bigger flower. To do the other flower, we're just going to duplicate the layers that we've already animated, and we're going to reposition the null object to the center of the flower. Change the expression we've used on the null. And we can turn off the flower. Now we can go to the main composition and start the flowers in it. We can position them using the guide into its correct place and place them at the top of the layers. Next, we're going to animate the rest of the decorative components and we're going to use the same technique we just used with the flowers. So we're going to use the same scale animation we used with the flowers. So we're going to go to the flower composition, we're going to copy the main frames, and we go back to the composition of the decorative elements to start animating. We're going to start with the little stars. I'm going to change their colors to be able to differentiate them better. And we're going to paste the scale animation. In one of them, we're going to use the same rotation expression we used with the flowers. Time multiplied by a variable. We're going to copy the rotation and paste it to the rest. We're going to make small modifications to the varial to make the stars spin at a different tempo and in a different way. In the same way, we're going to apply the same formula to the biggest stars. And to give them some movement in position, we're going to apply a wiggle expression. That will copy and paste to the rest of the stars. Also, we can apply a small shift to the frames, so that they don't all come in at the same time. Let's copy this scale animation again, and apply it to the hearts. Also, we should use a little rotation animation on entrance, so that they can stand out. We can modify their speed curve and paste it on the rest of the hearts. And lastly, we shift the frames. With the clouds, we're going to apply a horizontal movement that comes and goes. For this, we're going to create a mainframe at a position, we move the cloud horizontally and copy the first frame onto the last. When we make the first and last frame coincide, we can create a loop, so that it loops. We'll apply the expression and we'll copy-paste it onto the rest of the clouds. We're also going to create an entrance animation using the scale, we'll reuse the one we've already created and lastly, we're going to shift the frames quite a bit to make the horizontal movement different. Lastly, we're going to work on the blue stars and the lines that go with them. With the star, we can apply a scale animation. We copy and paste and let's add a vertical position movement with an influence of 150. And we're going to add an opacity animation that lessens just at the end of the position and scale animations. Since as were going to apply a loop to the three animations, let's create a main frame of the opacity at the beginning. And to make the loop start with a bit of a delay, we're going to copy the end main frames to a few frames later to slow down the start of the loop. We're going to animate the lines through the stroke effect. To do this, we're going to create a mask that's going over them. We're going to go to Effects, and open Stroke, changing its style so that reveals the original image. And we'll make the stroke bigger, and then we'll animate with it to make the stars animation coincide with this one. And apply the same influence. We're going to be following the same method that we used with the blue star. We shift the frames and we copy the opacity. We also, apply the loop out and there we have it. We just have to do exactly the same operation with the other three lines. Once we're done with the animation, we're going to Precompose it, so that we can duplicate it and reposition it in the original position of the illustration. Obviously, we can also shift the frames so that it doesn't show up at the same time. We'll turn off the stall layer with the lines. And there we have it. Background. Let's go to the main composition and drag it down. The next elements that we're going to animate are the balloons. To do this, we're going to select the balloon 1 and put its anchorage point at the bottom. We're going to do the same thing with its tether, but we put its anchorage point at the top. We're going to use the same animation that we did with the flowers. To do this, we're going to go to the flowers and copy the scale and paste it on both layers. We're going to go into the graphic editor to modify their speed curves and so that the end deceleration comes in a little softer. We're going to shift the tether's layer and link it to the balloon's one. We're also going to link the frame to frame distance at the end, in comparison with the intermediate points to increase the deceleration rate. To give the balloon a little bit of life, we're also going to add a wiggle in its position. We'll also add wiggle onto the rotation, but we're going to lower the variable, so the rotation is softer. Lastly, so that the tether stays vertical, we're going to link its rotation with the balloons. But we're going to multiply it by -1 to invert his movement. Now instead of animating the small balloon, we're going to duplicate the one we already have. We're going to lower its scale and we're going to position it in the original position. We're going to shift the frames and now we can drag them to the main composition, where we'll position it right where it has to be. The next components, we're going to animate other doves. We're going to animate them so that they're flapping their wings whilst having a small movement in position, and they're holding the ribbon. First of all, we're going to add a scale animation to dove number one from 0 to 100, and with an influence of 100 100 ,with which we can make it start slow and accelerate in the central part of the animation, and comes back to slow at the end. To simulate the flapping movement in its wings, we're going to use the puppet tool and we're going to add some points on to the doves extremities. We're going to go for 1 second and move these points to simulate that movement. And as we're going to add a loop out, so that it doesn't stop flapping its wings, we're going to copy the first keyframes, and we're going to paste them a few frames later. We're going to soften the keyframes and we're going to apply the four points into the loop out. Next, we're going to work on the dove's shadow, but instead of using the layer that we've already imported from illustrator, we're going to duplicate the dove that we already have animated and use the puppets in the shadow. We're going to duplicate the layer and link it to the original. We'll position it below the original and color with the fill effect, with the original color of the shadow. Next, we're going to move it to its correct position. And then we have both animations at the same time. Now, let's animate the ribbon. To do this, we're going to be using the puppet tool. And we're going to create two points, one on each end of the ribbon. And we're going to animate these points manually, so that they follow the doves peaks. So the keyframes have to be moving at the same speed and coincide at exactly the same time as the puppets we created for the doves. After that ,we applied the loop out and we've got it in sync. Seen as both doves are exactly the same, we're just going to duplicate the two layers that we've already animated and we're going to put them on the second dove. We're going to repeat the same action again on the end of the ribbon. Now we just have to shift second Keyframes so that they don't flap their wings at the same time. We can take advantage of this to give it an entrance animation using both opacity and scale. Once this is done, we can drag the Dove composition onto the main composition. Position into the correct place and give it a wiggle, so it has a bit of movement and doesn't clash with the rest of characters. The next step is to animate the character's compositions, and we're going to give them life with a little bit of a swaying movement, different rotations in the head and some small movements in their hair. We'll start with the character on the right. The first step is to place some Anchorage points on the layers, where we're going to animate the limbs. After, we can animate these layers with some small rotations and applying a loop, making the first and last frame the same. As we go on rotating, we're going to be linking for example the feet with the legs, the legs with the torso ,etc. Once these small animations are finished, we'll the same with the character on the left. For the hair, we're going to use the puppet tool. We'll add some so that they stay put. And then we'll add two more at the limbs. We can use puppets star to keep the triangles on the right, keep removing. We can animate the puppets, so we can use a loop and soften it with a loop out. To give the animation a more natural look, we're going to shift some of the points so that the heads and the legs of both characters don't move at the same time. To create the swaying movement, we're going to create a null object. And we're going to position it between both characters, but at the top. We're going to link of the null with the bodies. And we're going to add a rotation animation to it. With this, we can achieve that swaying movement. We'll copy the initial keyframe, soften all of the keyframes and we put in the loop out. The only things we have left to animate are the lines. And we're going to do it by positioning the Anchorage point at the top and animating the scale from 0 to 100. We're going to give it an influence of 115 and there we have it. Animation done. We're going to hold back the keyframe a little and we're going to paste it again in the same place, Easing this way our loop out. We also, have to make it disappear so that there's no skip. We'll animate the opacity from 100 to 0, but we'll also have to make the starting point, so that we can apply the loop out. Lastly, we have to do the same with the other two lines. And we shift them. And as we've done with the other compositions, we're not going to animate the other lines again. We're just going to duplicate them and adapt them with the other three groups. Let's hide those lines and shift the groups. Once we're done with these operations, we can go to our main composition and launch the character composition into it. We can now activate the main one to position the characters in their exact position. And while we are at it, we could copy the wiggle on the doves and paste it onto the characters to create the feel that they're floating. We can reduce the variable if the movement is too much. And let's check out the result. As they are technically falling, we're going to animate the position in vertical. To do this, we're going to create a keyframe, we put it on frame 25. And we move it up to give us that vertical animation simulating the fall of the characters, so that the keyframes and let's go to the graphic editor. In this case, it would be better for us if it was 0. And if you modified the curve, the characters come in fast, but then slow down. If the movement seems a bit too much, we can increase the distance between the keyframes. And that way, we'll get a final deceleration that is longer and just looks better. The next composition we're going to work on is the bicycle. And on it, we're going to create a simple rigging in the legs of our two characters with the help of the free plugin Dueck. Just like in the other compositions, we're going to loop it. Start again with the right character's leg. We're going to open up Dueck, and we're going to select the character's right leg. We're going to create four points, to add the waist, one at the knee and another at the ankle. Let's rename them and position them. We're going to select the four points and create bones. We're going to select again, we hit Autorig and we choose the leg. Here we name the waist one the knee and the ankle. We hit accept and a controller will be made for us that is going to let us generate the pedaling movement. We'll position the layer below, and we're going to link the foot and the pedal to the controller that we just got. To generate the circular movement, we're going to apply an expression in its position. In X variable, we're going to give it a movement generated by a sign through an inverted time constant that's multiplied by the speed that is going to spin at. Then the result is multiplied by a variable, in this case, 15 to create the circumference diameter that it's going to run along. In the Y variable, we've done the same thing, but instead of using a sign, we've used a cosine to counter that movement. Since as the center of the circumference is above, to lower it the only thing we have to do is, take away from the variable that is corresponding to the pixels that we want to move. In this case we're going to add 15. The next thing we're going to do is, to anchor the pedal together, To do this, we're going to have to use puppet. We're going to create two points at the extremities. We're going to create a null object. We're going to place the null object just above where we have created the puppet, we're going to rename it to "control" And we're going to give it another expression, that's going to let us attach the puppet to the movement in the null. Before this, we have to anchor the node to the controller. If we hit play, we can see how it looks. Now we just have to repeat the process on the rest of the legs. The front leg work fine, but the back leg is a bit jerky. So we're going to fix that, we just have to go to controller and in Movement Effect, we just move its stretch. This makes for a much smoother movement. On the other hand, we have to shift legs movement, so that when one of the legs is in front, the other is behind. We're going to work with the expression. To specify, we're going to work with the time expression. We're going to create a new parenthesis and before multiplying it, we're going to add time. We have to copy exactly the same thing in the cosine. And now when one leg goes up, the other one goes down. For this, we just have to add on three to the result we get from the multiplication we did on the time. We could get some imperfections, like this one we have here in the leg. But we can solve it by just moving the fourth bone. In this case, we don't have a left foot so we're going to duplicate the right foot. And we're going to link it to controller four. The only thing we have to do is, position it over the pedal. To give the characters a bit more life, we're going to use the same method we did on the composition before this one with some small rotation movements in the head and arms. To do this, we're going to modify the Anchorage points. Paste the first frame to the last one and then apply the loop out to make it smooth. In the hair, we're going to use the puppets and do the same operation. We should also shift the animation every now and then. Once it's animated, we can move on to the lines. In this case, we already have the lines animated and in a loop. So we just have to copy and paste them. To rotate them, we're going to create a null object, and we're going to link it. We're going to rotate in whatever degrees we might need, in this case, 88 are enough. And we position it. We're going to do the same thing, duplicate, even with the null and we move with the null. All we have to do now is to shift them between themselves. We can eliminate the nulls because they're not necessary anymore and we can hide the originals. Finally, we'd have the lines underneath the bicycle that we're going to give an orange color. Just so that it stands out. And we can add on an animation using the lines that we've just imported. The only thing we have to do before pasting everything, is to position the Anchorage points. In this case, on the left side, so that we can get that feel of speed. And we paste them, and we shift them. Once we have that, we can put the bycicle our main composition and position it in the exact point. And as an entrance animation, we're going to create a natural movement that would come in from the left like a position animation. We can modify the curve, so that they come in fast and finish with a deceleration. And here we have our result. All we have left to do is, to animate the speech bubble. We're going to do this with the same scale we used with the flowers. We paste it onto heart in the bubble and we paste it onto the shadow. We'll fast forward and modify its Anchorage point to position it at the bottom. And we will link the heart to the bubble. And we shift them. Once we're done with this simple animation, we go back to our main composition, we add it to it, and we put this in the original position. And we link it to the bicycle. Since as the bubble is repeated, we're going to duplicate it and put it in the other position. We do the same operation linking it to the character composition. And there we would have our animation ready.
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