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All right, we can go and get started, and if anybody else joins now, we'll get them caught up to speed.

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So I'm going to be posting a link in the chat where you can go to have access to this informational page.

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And from there, you can download the practice files that will be in one drawer.

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There's just an illustrator file and an Excel file with some sample data.

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And as I am going along, feel free to put any questions in chat or unmuted yourself and just ask them, I don't mind either way.

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My name is Jonah Lasley, I'm an instructional technology specialist in the Innovation and Research Commons and the library.

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I'm sure if you've been to other sessions today, you have gotten the spiel of what that is.

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But just to reiterate,

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I mainly work in the Adobe Creative space where we provide workshops and consultations over all of the Adobe Creative Cloud products.

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And as students, you have access to the entire creative cloud free of charge.

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And if anybody is staff or faculty, you can have access to it for I believe it's ninety nine dollars a year through your contacts.

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So you just need to contact them if you would like it and get that set up.

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So if you would like to get access to your creative cloud, you can just go to I believe it is Orben Adobe dot com and get your ID set up.

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So today we will just be going over how to create charts and graphs inside of the illustrator,

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and we will then be taking those charts and graphs from Illustrator and animating them inside of Adobe after effects.

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And if you're just joining us, if you would like to go to that link,

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you will have access to this page and also through there, the one drive folder with the practice files.

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So to start out with,

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we will be going to Dobi Illustrator and you can either just watch on your own or you can try and follow along and work on your own time.

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Either is fine with me. So when you open up Adobe Illustrator, if you've used it before this, you will be familiar with this interface,

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you are able to create documents based on different templates and if you don't like any of the templates,

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you can change them completely over here on this right hand side.

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So typically, I usually just work in the print settings.

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But since we are going to be taking this document from Illustrator and putting it into after effects for a video,

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I'm going to go to the film and video presets and just choose the HDB HDTV 10 80.

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That sets the with the height and the pixels over on the right, and I'm just going to click create.

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And so if you've used Illustrator before, but haven't gone into the video presets,

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this might look a little bit different since there's no clean white board and instead you have these green lines and the checkered background.

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This is normal. This is just giving you guidelines for your video setup.

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So you you've all of pixel measurements across the top inside and then some kind of framing guides.

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With these concentric rectangles and the gray checkerboard is just showing you what will be transparent inside of your project.

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So inside of Illustrator, all of your tools will fall on this left hand side.

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And for working with charts and graphs by default, the graph tool is not in the essentials,

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tool space or workspace, which is the default setting inside of Illustrator.

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So to get to the workspace that we're going to be using, that has more options for tools along the left hand side.

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You can go up to the top and go to window.

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Workspace and we want essentials classic, and when you click on that, you can see a lot more tools have been added to the left hand side.

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And so we will be using the charts and graphs, too,

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which can be found kind of towards the bottom and you'll just see the column graph tool is selected.

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And as with other tools instead of illustrator that have this little triangle in the bottom, you can click and hold.

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And you have options to pick from different types of graphs, and if you select one,

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enter in your data and want to change the way it looks later to I wanted to call them one and I wanted

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to change it to a line graph that is completely doable after you've already entered in your data.

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But I will just select the column graph for now and now it lets you click and drag out the area where your graph will be presented

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and so you can click and drag out a rectangle and just note that this is drawing out just what will be inside of the X and Y axis.

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So you don't want to draw it from outside corner to outside corner because your margins, your information will go off of the edge of the project.

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So click and drag it like that. And then this little graph window pops up.

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And here you can enter in your data, you can import it from a text file.

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Theoretically, you can import it directly from an Excel file, but I have never gotten that to work.

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Or you can copy and paste in data from your Excel file.

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So I am going to go back to the car sales document.

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And this just has sales and thousands from a range of dealership car dealerships and the make and model of certain cars.

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To consolidate that, I have put it into a pivot table that has consolidated the brand and added up the sales for each of the models of those cars.

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So I can just click on forward or Down Shift and click on the sales number for Chrysler and then I will see the copy,

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you will be doing command, see if you are on the Mac. And then you can just go over to Illustrator, control the or command the.

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The checkbox and now you can see that it was put in the data and arranged it.

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Nice and neat. It doesn't look very pretty because by default, it's all set to black inside of this data option, you can transpose call column.

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And then that just adds this little ledger and changes up the color of the columns, if you would like that.

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Or you can keep it. Looking like this.

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For demonstration sake, I will keep it set to this and then just exit out of this box.

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So right now, you have your your graph and as you can see,

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even though I created the initial boundary for the graph inside of this center rectangle, the ledger has put the name brands off to the side.

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So to manipulate pieces of your data, you can grab the direct selection tool over here on the left hand side.

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That's the second option down. And you should be able to select around items and move them in.

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So this is still a little tight, but just for demonstration.

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You can see that you can move these parts around. And.

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Got a little funny on the bottom because I didn't select those bottom two points. The Ford.

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And now, if we wanted to change the styling of this graph, if we wanted to change the font,

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the font color, the color of the bars, that is super easy to do.

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So while you're already on your direct selection tool, if you go back up to the option and click and hold down, you will see the group selection to.

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With the group selection tool, now, whenever I click on a feature once and then pause and click again, it will select.

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Everything else that has that same style, and so you can see all of these numbers have been selected.

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So with something selected, I can go over to the right and in the character menu, about halfway down on the right side, I can change my font.

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So want something kind of bloche? And make it smaller, and if I wanted to make it.

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A nice red color for and then you can do the same for.

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The text in the ledger. Is that Sinco?

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And now if I want to change the colors of the bars, it works the exact same way,

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all I have to do is click once on this box next to Chrysler and then click again and it selects the bar that is inside of the graph.

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And so now, just like I change the color for the text, I can go over to appearance and change the color.

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For the bars. And it doesn't matter which one you click on so I can click on the bar that's in the graph.

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And then it'll select the one that's over in the ledger, or you can click on the ledger.

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And click again, and it'll select the one that's in the graph so you can go back and forth.

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Either way. And if you want to change up the type of graph that you're using.

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You can. Go back to your main. Selection tool.

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And Right Selecter graph and then right click.

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And you can go to either. So you can go to type and that will give you different options for Grauwe,

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so they're stacked column or stacked bar or line area scatter pie and radar for the example that we will be taking into after effects.

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I'm going to click on the pie chart. OK. And so now.

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Just want to go back to my direct election tool.

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So you can see things have gotten a little close, so let's put it all together, may actually be easiest.

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To move. The graph out of the way.

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We'll just do this for now, for the example sake, I apologize, that merged it all together.

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Well, just does not want to let me grab just these boxes, so anyways.

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Now we can select that. So we can keep going if we want to keep changing our.

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Colors. To make it nice and pretty.

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But you could see that it was easy to change between the types of charts and honestly,

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I would probably the easiest thing for me to do to avoid everything being grouped together would be

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to if I saw that it emerged on top of each other after changing the type of chart I would undo,

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move the text back over and then recreate the pie chart and that should get everything out of the way.

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That would probably be the easiest way to go about fixing that issue.

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There you can see it did not. Wait and double click.

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To get both of them. One more.

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Let's go with the yellow. So this is terrible colors to read, but you can come up with your own color scheme and inside of the swatches panel.

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Right here. There are a number of swatches and then.

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You can also go to the stacked symbol and the top corner.

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And open a number of different Swatch libraries to bring in even more colors.

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So there's like. If you want to get like the analagous complimentary split complimentary,

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you can see that it brings in more colors and color palettes that go together a little bit better.

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Does anybody have any questions so far? Yeah, could you explain one more time how you got the the legend I missed that step.

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Yes, like it created it with the chart when you enter in your data.

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It didn't do that for me, for the pie or for the bar graph or at the very beginning for the market to get the ledger.

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Let's go to. If we go to type and we'll just go back to Bargara.

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And then you can always get back into your data by clicking on the data and to get the ledger when you enter it,

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and it'll probably be like this and it just stacks the bars.

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But you can go to this button, the transposed row and column in this top menu.

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And that swaps the alignment and you can click the check and then that puts it in the ledger.

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Did that work for you? I'm trying to select it again.

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OK, so. I.

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So I got call tape and then. I see a check for ad legend across top is a.

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So when you select your graph and right, click on it, go to the data option, OK?

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The type is to just change between style of styles and graphs, like bar graphs, pie charts and things like that.

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But you can go into data. And then it in this menu, it will be the transposed row and column.

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And then click the check. Yeah, OK.

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Am I right, click Novak to type. And go back to the pie chart.

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And one really neat thing about the pie chart. Is when you.

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Right, click and if you want to go back to data and do the transpose row and column and click the checkbox,

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it makes like a point graph and with the circles exactly scaled proportionally to the numbers.

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And so this is handy if you're doing things for like population density of cities

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or just need to show comparative information on a map or something like that.

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And instead of trying to scale them yourself or do all the math to get in the right numbers, it makes these exactly the right size.

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If you do, the transpose wrote in column. All right.

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Just to try and clean this up a little bit so it doesn't look so. Normally in the slide this over.

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It doesn't have to be perfect just for this example, but. Just going to try and get it a little bit readable.

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So now that you have your graph at this stage, the graph is still complete and so you can always go back in and change the design,

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change your numbers, make adjustments as you would like.

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But to get it ready to go into after effects, we need to.

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Break it up into individual pieces, and once we do that, it will no longer be able to be.

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Live updated when changes are made, so you really want to make sure that you have all of the information correct, the styling can change,

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all of that other stuff can change, but the proportional scaling needs to be locked in before you before this next step.

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So to import into after effects, whatever we want to animate needs to be on its own layer.

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And this can either be a lot of work or a little bit of work, depending on what you have in mind.

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And I will show you two different variations of this that we can do.

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The first one is only going to involve two layers with the pie chart on one and the ledger on another.

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And then the next one is going to have the ledger on its own layer and then each section of the pie will be on its own.

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So to start this process, grab your. Direct election to or I'm sorry, your selection tool up at the top.

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You can also be on your keyboard as the keyboard shortcut and click to select everything.

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Now you need to go to object. And expand.

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You just the right one. Or I'm sorry, that's for something else, it is Ungrouped.

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That's right. And so when you click on group, it says this election campaign to graph after its own group, you will no longer be able to access this.

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This is sounds scary, but once again, if you've made sure all of your data is correct and you're done making changes, you can go ahead and click.

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Yes. And so now it is broken up into a bunch of different groups.

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And if you go now, we need to organize it into its own layer. So you can go to window.

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Scroll down until you see layer and this opens up the layers window,

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and if you've used Photoshop before, this works exactly like layers inside of that.

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So we can see what is inside of layer one if we click this dropdown and it's three groups inside of here.

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One has just the letters you can click the eye to turn them on and off.

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One group that it makes is empty that can be deleted.

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And then one group. Has all of the different shapes and colors broken up?

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So go up and we'll need. Probably six more layers.

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So if you see this create new layer button at the bottom of the layers panel, we'll go ahead and hit that.

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Six times. Actually,

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I'm going to do seven just to make it a little bit easier and not keep the layer one that everything is on to move things from layer to layer.

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So if we want to move this group that has all of the words can click on it and drag it up and we'll drag that into layer two.

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And so now we just need to go through and grab each of the colored bars from the ledger.

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Actually, before I do this, I'm going to delete.

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These extra layers. So for this first method.

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I'm going to just say out the two layers, one with the ledger and one with the pie chart.

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So go down. And Ungrouped.

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Or open up all of these groups and for each of the rectangles and the groups,

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I'll just pull them back into layer two so they're on the same layer as the ledger.

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So now if I turn later to on and off. You get that and layer one, if it turns on and off, you get that and we will save this.

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Just file. Save as. And it can be a regular illustrator file.

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I will do two.

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And just click. OK. And now.

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I will add the six layers. Three, four, five, six, and go back into the first layer and drag each of these pieces up onto their own.

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So it takes a little bit of time to get this organized, but this is what you have to do for it to be able to.

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Can be used effectively. Inside of the after effects, just making sure everything is right.

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So the purple is hiding somewhere. That's.

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Selected, it looks like it moved up with. Later.

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So there we go. Now everything is on its own layer.

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And now I'll just go back and file, say there's. I.

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Just to layer's. All right, now we need to go into after effects before I go on.

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Does anybody have any questions about breaking up the chart and putting each of the pieces on its own layer?

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All right, you can go on over the after effects. We want to do a new project.

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So. And then we want to choose.

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Composition from footage. And from here, I will start with just the illustrator file with two layers.

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And the import of that in. But.

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Yes, so when you selected. Inside of this minut.

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You want to choose import as composition, retain layer size, that is a very important step.

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You want to be the composition and also retain layer sizes so things scale properly.

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Import. And now over here on the left hand side.

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You will see a composition. From our illustrator file, and we can drag that down into our timeline.

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And now we have our graph. And if you click the.

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So. They would go.

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You can double click on it, I apologize, and that opens it up.

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Inside of the timeline. So you can see we have our two layers here and we did not add a background inside of Illustrator.

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So we can do that now, if we would like or you can add one inside of illustrator, but to add a background once you are inside of after effects.

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You can right click down here below these layers and do new.

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Shape later. And then this gives us an option to drag out a shape, but we will want let's do a white background.

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And they can draw out a rectangle. So that created the shape on top of our other layers.

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But as always, you can manage your layers by dragging them down.

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And so now the shape layer is on the bottom.

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And we can lock that by clicking this box right here, so that way we won't we won't move it on accident and then let's go ahead and lock layer to.

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So to animate this pie chart, I want to animate it like spiraling in like so it's like wiping in from not showing to showing.

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To do that. You can go to effects and presets over here on the right and I apologize, my computer is slowing down.

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I'm going to close Illustrator. To make sure that it runs a little bit better because after effects can be a bit

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demanding and the effect that we will be looking for is called radial white.

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And you can see it down here as the transition, so we want to click and drag this onto our layer.

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And then you can see. Over on the left hand side and now has the settings for this radio line.

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And the first thing to do is to set the centerpoint. And if we zoom in.

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You can see that the center point is not in the middle of our pie chart, and so if we do the radial wipe, it will look a bit weird.

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So you can click on this, the wipe center, and then it lets you click where you want to be.

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So click right in the middle of where all of these meet.

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And now it is time to. Animate.

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Our. Our wife. So.

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To animate this, we need to set keyframes. And you can see with this transition completion, this is how we control the white.

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So we actually want to start at one hundred percent and then have it white and rotate in.

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So to set keyframes. We'll go ahead and put it to where we want it at one hundred percent and click the stopwatch next to transition completion.

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This marks the keyframe. I will click this dropdown.

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And then click effects of Radio Lipe, and you can see down here, we now have a keyframe on our timeline.

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And then we can move forward. Let's go. The.

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Let's just go to about two seconds. Forward in time, and now if we change the transition completion to zero percent.

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We can scrub with our play, head down in the timeline back and forth, and if you click, spacebar.

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You can play your animation. So we have that Weiping in.

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And if we wanted to go the other direction, we can choose counterclockwise.

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And then it would go that way. Or you can have it do both and meet in the middle.

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Does anybody have any questions about adding in the radio like.

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Or anything about the starting after effects in.

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I will now go on to the next file and show you that.

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Why you need to break things into individual layers depending on what you want to animate.

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Since we wanted to animate this as a full circle coming in, it made sense to keep them all together,

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all of the pieces of the pie together so we could apply the radio wipe to one one object.

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But if you want to do other things, like have each piece move on its own,

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then each slice needs to be its own layer, which is what we did in the other file.

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So we'll go back to file. New new project, and I am not going to save that one.

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We'll go back to a new composition from footage is the multi layers and make sure to choose important as composition, retain layer size.

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And click import. And so now we can do the same thing where we click on this and now you'll see all of the layers instead of just one.

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And we can add the background by going to new.

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Solid shape or. And again, then.

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Draw shape out. And move it back down to the bottom.

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And once again, I will go and lock the player lock player one.

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So now we have all of our pieces. Um, individually in place.

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And so let's say we want each of these pieces to scale into place one after another.

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So what we can do? As we can click the dropdown, let's say, for layer eight, the first one.

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And then click this dropdown for Transform. And so we're going to want to take the scale from zero all the way up to one hundred.

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And we'll need to set keyframes for that, but actually, if we click on layer eight and hold shift and go down to layer two,

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we can select all of them and set keyframes at the same time.

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So we'll go back to scale for layer eight. We'll go ahead and set this to zero.

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And so that should make it disappear. That is OK.

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So. And then we want to click the stopwatch next to scale.

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And then let's move forward. Let's say one second.

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And now we want to take the scaling back to one hundred.

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Now, before we change it, make sure you click on a shift and then go down and click on later to.

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Now, we'll set this back to one hundred. So I actually grabbed the ledger in there with that, but that's OK.

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So now you can see once we made the other change. It's another keyframe.

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On their. So. It's looking like it did not grab all of these for the original scale.

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Transformation, so let me try that again. They go down to layer three instead, so we don't get the ledger.

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We. Change that to zero.

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Makes all of them disappear, said a keyframe. And let's just see.

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Go ahead and just manually set a key frame for each of the other layers.

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Sometimes it will grab them all and set it, and sometimes you just need to go in and do it by hand.

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And then we can move forward to one second. A must see.

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That will set it shift and then setting the scale back to one hundred.

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And see, that time that went through and grabbed them all and set the keyframe.

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So for that last one. So which one there is?

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Layer three, Gothamist. So I will the scale to zero.

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The. You can hold down, shift and drag on the keyboard and your play head will snap to.

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The. To the next keyframes.

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Little under one hundred. So now if we play it.

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All of the pieces scale in Rome, but there is a way to make them all scale one after another so they don't all have to be one at a time.

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So start I'm going to click on layer eight.

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Scroll down to. Layer three.

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And hold shift and click on layer three.

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I will drag my play head to the second keyframe, and then if you hit ult and right bracket key, that would be option and right bracket key on a Mac.

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You can see that it now trimmed. All of these layers to only exist.

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For this limited amount of time, which sounds counterproductive right now, but you will see why we do that in just a second.

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So now if we play it, they go away after one second.

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But the reason we end up doing this is we are going to stagger all of these layers and trimming

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them down first just ensures that they won't run off the end of our timeline when we stagger them.

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And then once they're staggered, we will go back and extend them back out.

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And I will show you what I mean. Click on layer eight and scroll down and hold shift and click on layer three.

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To make sure they are all selected. And then if you go up to the top window, you click on animation.

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Keyframe assistant. And sequence layer's.

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And then do not check overlap.

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OK, and now you can see what it's done is as soon as the first layer finishes, the second layer starts and so on and so forth.

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So now if we play it. Want to come in?

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And so you can see the staggering is just to make sure.

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That it plays sequentially in order and doesn't go too far.

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Off the end of the timeline, so now once again, with all of the players still selected.

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I can hold them out and click the right bracket key, and that extends them all back out, so now they are no longer.

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Disappearing, so if you could play. They are all popping in one after another.

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Does anybody have any questions about that sequencing and adding in the key frames inside of after effects?

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It can take a little bit to get used to, and sometimes it doesn't always behave exactly the way you think it should.

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The biggest thing is just to make sure that.

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If you're doing group selections, you're getting everything selected and everything is getting the keyframes placed properly.

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So I am going to show one more thing with this we are going to now.

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Make. This graph rotate as it comes in.

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So you may notice over in the transform section, each layer has a rotation option, just like the scale.

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But if we change that, let's go back.

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Let's go to the end. So we. Change the rotation, you can see that it's rotating around its own center point.

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Which we could go in and move the each center point of each of these six items to the middle,

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but that takes a long time and that's not the most effective use of our time.

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I'm just going to undo. So now.

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Well. That undid my extension.

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Go back to that.

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OK, so now what we want to do, instead of rotating each one individually, so we want to create what's called a no object to have them rotate around.

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So just to make more space, I'm closing up these layers and just so we can see everything I'll go to once they are all scaled into place.

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So just like we created the shape layer for the background, I'll go to the bottom and right.

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Click. You go to new.

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And we want a null object. And that creates this little red square inside of the window.

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And this will not appear in the final render of the video, this will just be like a an invisible object that everything will move around.

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And so it looks like the green one got a little bit out of position, but that is OK for now.

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So just try and line up the crosshairs that is in the top left corner with the middle of the circle.

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And so now the goal will be to. Parent everything to the null object and rotate the null object instead of each layer individually.

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And here's what that looks like. So I will go back to where they are all in.

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And I will select layer eight, you hold down shift and then select layer three.

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Now, in this column over to the left, that all say none if you read at the top, it says Parent and Link.

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So we want to link all of these layers to the no object.

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So we click none. And then we want to go up to one, No.

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One. And click on that. And so now.

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If we go to the no object and transform. If we move the position.

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The graph moves with it. And if we move the rotation, the graph moves with it.

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So if I go back to. Frame one, frame zero, I should say, I can set a.

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Time for a rotation or a keyframe per rotation by clicking the stopwatch.

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And so now you can drag it out. Let's say to once everything has rotated in.

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And then. Where it says zero X plus, then zero zero degrees, the first one is the number of rotations.

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So if we wanted it to rotate two full times, you can just put two in that.

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And the second one is for number of degrees.

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So if we wanted to rotate two and a half times, we could do two 180 and that would rotate two and a half times,

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or you could leave it at zero and just put in one eighty or three sixty.

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You can do the math to have it rotate however many times you would like it to.

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So now if we could go back to zero zero, spacebar to play.

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And let me move up inside of the smashed window so you can actually see it.

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The bits of the graph. Are scaling in and rotating as they come to.

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One neat thing about keyframes, or I guess it can be frustrating if you don't know how it works,

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is you can set them to you need to add extras if you want something to hold its position.

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So right here. These between these two keyframes.

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It is moving or rotating the object equally or consistently from zero to two full rotations, but if we wanted it to hold.

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Partially like, say, we didn't want it to start rotating until four seconds in.

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It doesn't create a keyframe or let me delete this one.

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So say we started and we knew we wanted to not rotate at the beginning, but we needed a rotation keyframe,

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we click the stopwatch and then if we wanted to wait four seconds before it started rotating, we move forward to four seconds.

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But it doesn't automatically generate a keyframe unless evalu changes.

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But you can force after effects to generate keyframe by going over to pass the

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stopwatch to the left and clicking the diamond in between these two arrows.

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So now you can see that added a key frame, even though nothing has changed.

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And then if we move toward the eight seconds and now wanted it to rotate to.

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It adds another keyframe. So now if we play it, it will hold and won't start rotating.

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Until it gets in between those two keyframes. All right.

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I can go ahead and cover exporting, so to export.

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We want to go to composition of the top. And then you can either add to render or add comedian to you, they're both about the same median.

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Koetter opens another program. So this is what it looks like inside of immediate encoder rendered to.

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And this is very similar to exporting from Premier, if you've ever done that,

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so you can click on your output file right here and you can choose what you want to name it and where you want to save it.

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If you don't change where it's being saved to, it will go buried far into some files on your computer and it'll be hard to find.

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So I usually do desktop or a project folder if I'm working with it.

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And you can see it is already set to be four. So it is much easier to go from the media encoder rendering then.

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So. It put it in here twice so you can remove it if you want to.

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And so then all you do is click play to start rendering and depending on your animation, it'll take a little bit of time.

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But then you can go and get the money for file from wherever you saved it to.

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And so I know that got a little confusing, so just to show it again, you can go up to the top.

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Composition and immediate encoder render cue, and it might take a second,

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but that will pull up an immediate encoder to start rendering out your project.

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Right. That is about all I have for you all today.

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I hope you enjoyed it. If you have any questions, you are free to email me.

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My email is Lasley Auburndale Edu.

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I'll put it in the chat. And also, we have our adobes student consultants that are available online, Zoome,

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or in person, you can find their schedule on the Adobe page of the library website.

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Thank you all very much for coming. Have a good day.