Hello, we have our cup animated in its own comp. We'll head over to coffee main class is what I named this competition if you don't already have a competition for your main made, go ahead and make that now using this calm button again and name everything here. In our class here, I'm just going to right click go to new solid and I can pick a color and we'll go down here to kind of the Browns area. I go to dark we can always change this but we're into the brown just kind of a coffee color. What I'm choosing here, this is fine. I'm gonna actually rename this to BG for background.

Everything else tastes the same. It's all just here we go. And then in effects, which I have right down here I just had to wait because you may not have that in here, I'm going to type in yet. Grab this, drag it onto here or double click, it brings this up. And you see it creates this little vignette which is kind of what we want. And if you like that, it's great.

I think I'm gonna go in here and take the amount down a little bit, probably to about 7075, somewhere like that, I want it nearly as much and your angle you can always change and that that brings in, it's causing more of it here. It's whatever you'd like. I like mine to be about 50 I don't like a lot of it. I just want the hint. Just to give the background a little more depth instead of just having it totally flat like that. This just adds a little bit more character to it.

Okay, so there's that and then text, we will grab Text up here. And it's whatever color you want right now I have it as a yellow. And we'll leave it as yellow for now. And I'll just type it out. Go in our anchor point is here to the left, and that's because my paragraph has here I go center. And my caps lock is on.

That's what it's telling me. So now it's centered here. Align if you don't see this window that is aligned, go up to window and align, choose it. It's right there. It'll show up. We just want to go centered here and center there, but it's an hour centered and it's about the right size.

I like it. It looks a little fuzzy because I have it on half. Just know that it's a vector so it's not going to be fuzzy. If you ever see your artwork is looking a little fuzzy check your resolution. Try it down here. I work at half a lot of times, just so that Doesn't tax my machine so much.

All right, here's our space for our coffee is going to go right there. And it all fits within our action title safe zone, which is great. We can actually get rid of that now if you want. If it's distracting to you, you can always toggle it off and on totally up to you. And I like I actually kind of like the yellow Look, I might leave that actually. Now I'm going to go want to change it.

So I'm going to go to character, click the color here and go more of a kind of a yellowish cream. Let's go light, a yellow cream with that. There you go. I kind of like that. Okay, you can give this a depth or give it a drop shadow is what I have here. I have a drop shadow on it, just to give it a little bit more of a depth to it.

So let's go and do that you can right click, Layer Style drop shadow There's a lot of ways you can do this. Obviously, you can go into here into effect and put in drop shadow as well. This one, we don't need to animate the drop shadow or do too much with it. So creating a layer style within that layer is a more simple way to do it. But Either one works perfectly fine. And that color, I think, is perfectly fine.

What we're going to do though, is we have to think about our coffee cup has the light coming from the right, it's kind of actually coming from the upper right, because it's shaded here and it's shaded along the bottom, you're suggesting that the lights kind of on the upper right, so keep your lighting source in mind. So we have to go from the upper right right now our shadows showing it coming from the left, upper left. So grab this angle, and just start moving it around to see that might actually work with your coffee cup. We're gonna go 25 it's good. You can change your distance here. If you'd like.

Sighs I'm going to change my size back to zero because I like that hard look, or this animation. And there we go. There's our Monday. Now to get our coffee in here, this is where the absolute beauty and you're gonna see in a little bit as well later is really comes in. So the coffee cup class here, bring this drop this down, and nothing shows up because we are at a space where here, there's nothing here. So it's still there.

Now keep in mind that anything you put here is going to show up when you bring your comp into here. So if we move this forward, there's our coffee cup. And our animation all works exactly how we want it to work. And what I'm going to do actually because I want to change this color, let me go to here, grab this eyedropper and I'm gonna change it the same brown I like that a lighter brown just to give that a nice look to it. And I'm going to grab this layer style. There we go.

Like that. So now our shadows, everything matches our rap looks good. Okay, anything you put into this comp is going to show up meaning that I'm working with transparent background. That's part of the reason that I always work instead of working like this. I work with a transparent background. Because if I were to put a background in here, so let's just put a background doesn't really matter what the color is this to white, so it shows up.

Okay, there's my background, drop it to the back. Okay, looks great in here until you move to here. Now, that background is there. It's important to understand everything you do in this comp is going to show up in the any comp that you put this into, so Pre comps are extremely powerful. Now this would be considered pre comp are extremely powerful. It's just that you have to be careful with what's there.

Now you can leave this there if you want to just mute it, focus it out and it goes away. So keep that in mind as well, if you have a layer over here that you want to show up, but it isn't checked to see if its eyes poked out. So what I want to do first is find the end point, because I know that this scale is 100 s for scale, the scale this down till it's about the size of my letters, or go and then position. move this over till it takes up the position of the Y or the a sorry, this is a Here we go. Looks great. That's where we want it.

So do shift s position and scale. You can hit both those. That's our ending keyframe. Gonna go up back to here until it's gone. There's out. Now we need positions in scale here.

So what I'm going to do is put these back to 100 per scale, and keyframe automatically shows up and our position is going to be the center of our column, which it's a 1920 by 1080 column. So I know the center is going to be 960. So I can just type in 960 here, and that moves it back to here. So that's what we have so far. Immediately, it's starting to move and scale. If you notice that anchor point is moving along that line the entire time.

That's not what we want. We want this animation to actually end in this position. there and then have it start moving or a little before it's up to you, but we're going to To have it start moving afterward. So to start that, I'm going to grab these two. I'm going to copy them. And then I'm just going to hit paste and it pastes them right there.

So now this animation stays right there. Then it starts to move and it's taking much longer than I want it to. So the other thing you could do is you could actually just grab these keyframes and you could have moved them to right here. So we'll just delete those so they stay stays right here and approves. I want these to ease into position now. I'm just gonna grab these last two, half, nine here and influence is actually the other way and wanted to ease out of this pen into there, go very quick.

But I went a little bit of easing here. So I want to go fast and then slow down, not an abrupt stop. ease and very quick. Okay, I'm liking how that eases down and goes quick there at the end. And what I've done here is I've scaled up the words. So if you notice here, on the words of Monday, I have a skilled way up so we put it back to 100 for you.

What I want to do is I'm trying to find the position that I want the best position for this to start with the scaling back. And notice how it kind of gets into position and then it just scales really quick. And the reason it does that it's not just In a linear motion from here to there, is because of the easing. Let's see how quick that ease happens. This last little bit, if you recall back to the squares and how it looked like the square was arriving at the endpoint quicker than the top square. That's because of how quick it goes right here at the end.

So if we zoom in here, we can see that it's not actually coming backwards just that the distance between here and here is one keyframe. It's huge, then that's like half that distance and that's about half that and then that is a tiny amount. So it slows way down right here at the end. It speeds up, gets a really fast and then really fast to it. But that last little bit, see that bump right there. flares out.

That's what's happening there. So you get that little bit of a glitch. Kind of a look. Right there, which doesn't bother me too much, it gives me a little bit of the natural flow so it doesn't bother me too much. And that if it's bothering you too much, you can go in there and fix the easing. Here.

We go into here we just grab the position and you can either you know, move it over this way or give it even more influence influence all the way to there. Now, boasts the other way. It's going even quicker. Again with these with these keyframes, you just play with them until you get something that you like. It's all just the art and the finesse of it. Whatever you like the best.

Okay, see how these two people are different. And that's why if you want it to look very linear, these two peaks need to line up perfectly. So if I grab this rotation one, and I back it up just a little bit, just a little bit more. Now, it's pretty close, as far as the scale and a position now looks very linear. And that's why, again, back to if you fully understand what's happening here at these graphs, you can start to do a lot of your animation here in the graph, and you can get, instead of just playing with it and being like this might work this might work. I know that these two peaks, we want those lined up as close as possible if you want that linear look and not the little bow at the end.

So to the words, the words are just going to scale as well. The anchor point is at the bottom of Monday. So it's gonna scale from this point right here. And we just take it away. And if you want to, we just scale it up as far as we can here and bring up shift p for position. set a keyframe there.

I want this somewhere around here. But here we're going to add a keyframe, we actually don't even have to add this keyframe, you just move things over. I'm going to move it over till there's nothing on the screen. This one a little bit different. With up like that. We can even scale it up more if you'd like.

We're just gonna go straight with this. And that's moving position, but notice we have no keyframes on the scale. So scale at this point we need to add it. So go here, go scale and go to about here and go 100 as long as you keep this locked, everything is gonna stay the same horizontally and vertically. It ends there and Okay, we want these to end about the same time. I don't want this to begin the same time with this to be faster as the cup falls away.

The words come in Monday, like that. I like it. And I'm going to take these and go f9 for these here. I'm going to influence these Way over, and this way over, as well as this one. There you go. This is gonna be very quick, abrupt stop.

Monday. A little too abrupt, that's fast. If you need to move something, something a little easier and it's moving too fast hold down Command while you grab it and move it and it will move at a 10th the speed. Just a little tidbit there. Both phase two, this does. I want it pretty fast.

I want it to be kind of abrupt, like Mondays are. So I like that. So that's the basics of the animation.