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Tutorial: Illustrator to After Effects Field Manual

Amy Sundin

Some things that seem like a no-brainer…

…really take a lot of know-how, and getting assets from Illustrator into After Effects and have them be animation ready is one of those things. In this video we cover quite a bit of ground on just how to set that up so you don’t spend a lot of time trying to figure out why something just isn’t working.

We’ll go over taking care of EPS files, converting to RGB, how layers in Illustrator translate to layers in AE, the different ways to import your AI file, and a whole slew of other useful tips and info.

In this video I mention how awesome the Explode Shape Layers 3 script is, you can download that here at aescripts + aeplugins.

This time you can download a cheat sheet with a bunch of info on it. It also has all of the time codes for where I talk about things in the video so if you do need to review something you can find it fast.

I also want to say many thanks to Jon Craft for helping out with this tutorial. He not only helped lay out the art, but sometimes two brains are better than one and he helped me go through and remember all of those little things that I show you. You can find Jon’s work here.

Lastly, a huge thank you to Nicole and Jonathan at Territory Post in Ferndale, MI for recording my intro and outro. You guys are awesome.



Tutorial Full Transcript Below 👇:

Amy Sundin (00:08):

Hey guys, this is Amy from school of motion. And today I'm going to be taking you through how to get your illustrator assets into after effects as a motion designer. This stuff is super important because you're going to be doing it all the time. I'm going to show you a bunch of tips and tricks so that you can avoid some pitfalls and not get stuck midway through a project. Also scroll to the bottom of this page and sign up to be a VIP member because we're always giving out bonus content with this lesson, you'll get a PDF so that you don't have to go back through the whole video, just to remember something really quickly. Thanks for watching. Let's get started. All right, guys, let's get started with this tutorial. So I would like to apologize for my keyboard. It is the loudest keyboard on earth.

Amy Sundin (00:50):

I will eventually replace it sooner rather than later. So we'll only have to deal with this for maybe the first two tutorials that I do. All right. So we were provided with this wonderful artwork by my buddy, John Craft. Um, he put it together and we have our three boards here. These are each different art boards. You know, we've got our different objects, kind of separated out into groups over here. And I want to mention that this is actually an EPS file. Now we're starting with an EPS file, just so that we can see how after effects handles those particular types of files. The short of it is after effects really doesn't handle those types of files. Well at all. So we are going to import this EPS file control. I to bring up the style log and you hit import, and we're going to comp that really quick.

Amy Sundin (01:47):

And as you can see, this is not what we want at all. Our art boards are all just kind of spaced out. I mean, it brought it in pretty much exactly as it was laid out in after effects or illustrator, not what we want. We have no layers down here. We can't isolate these objects and the color space is actually wrong on this too. So we're going to go back into illustrator and we're going to fix this. Now, the first thing that we want to do is actually make an illustrator file. And that's just as simple as going up and hitting file save as, and then just selecting Adobe illustrator. We're going to take off our EPS suffix here, and you can just leave these default settings. These are completely fine to bring into after effects. Now, the other thing we need to address is that this isn't CMY K, and that's why the colors aren't showing up correctly.

Amy Sundin (02:42):

Now this is a pretty easy fix. Also. Now it's not under color settings. Like you think it would be, see, this just brings up the profiles for Adobe. Instead. It is actually under file and then document color mode. And there's RGB color always takes me a little bit of thinking to make it through some of these menus. All right, so now we've taken care of the color space and the actual file type. So let's save this and won't bring it back into after effects and see what we get this time. Let's delete out these EPS files, all right, import coffee shop. And we're going to actually talk about the different ways to import things too. So for this first one, we're going to import it as footage. It's going to hit import, and we're going to leave it as footage, and we're going to leave it on merge, layers, and hit. Okay.

Amy Sundin (03:48):

Now, as you can see, it brought in something a little bit different this time, but it's still not what we want. Now. What's going on here is after effects, just kind of picks and art board. I feel like it's arbitrary. There's probably some science to this, but it won't actually look at the art boards that are in the project file. It's just kind of going to pick one and that's the art that you're going to see, and this is all you're going to get. Now, when it's brought in is footage, it's doing what it's supposed to. As far as it being footage, you're going to get just one thing. Everything's going to be merged down together. That's completely normal. So we actually need to go back into illustrator and we need to get rid of those art boards. Now, the easiest way to do that is we're going to be doing some files, save as work here.

Amy Sundin (04:40):

So what we'll do, I always save as first because otherwise I get myself into big trouble. There we go. Save as coffee shop scene one and same thing default. And we're actually just going to delete scenes two and three out of here. And you're going to select your art board tool. And you're just going to close these art boards down. You can also select them and hit delete either way works just fine. So now we just have scene one isolated out onto, into one file, and then we're going to do the tedious thing where you open it up again, and we're going to go file and save as coffee shop. This is going to be seen to whoops. So we repeat the process for all three scenes.

Amy Sundin (05:40):

All right. So right now we're just going to focus pretty much solely on scene one. Um, this is gonna give us a very good demonstration of what aftereffects actually does when you bring in footage, the three different ways that you can import it. So the first thing that we're going to do after effects only looks at the top most layer, um, the top most layer in your illustrator files. What I mean by that is this is a top most layer. And if we added another one here, layer four would also be a top. Most layer. These little sub layers or subgroups are not going to be looked at by after effects because they're nested underneath the top layer. So what we're going to do right now is we're going to come in and we're actually going to separate all this stuff out. We're going to assume that you probably logically would want to animate the speech bubbles separately, the girls separately, the guy separately, and then have the background kind of hanging out as a background like it should be.

Amy Sundin (06:44):

So what we're going to do here is we're going to go in. There's a reason I'm clicking off and we are going to use release to layers. But if you notice it's great outright. Now, I don't know if I'm the only person who has encountered this problem. I feel like I've ran into it on multiple computers. I don't know why this happens, but I found a workaround for it. All you have to do is add another layer. I don't know why this works, but it does. I am not the genius who will explain the why. I'll give you the work around though. And look magically released to layers is back as an option. So we hit, released to layers sequence and magically. Everything is in its own layer now. Well, not really magic, but you kind of get what I mean. So we're just going to drag all of these out and we're going to leave the background and seeing one layer right now, and we can dump this empty layer off of here. You're also going to want to name things. This kills me all the time when I get a file and it's not named properly. So I'm going to go through and rename all these really quickly.

Amy Sundin (08:00):

All right. So we've gone through and we've renamed all of our layers properly. So that way we know what we're working with when we get into after effects, if you notice that move dialog box pop up, that's because I have one of those hot key kind of things that happens when you work in more than one piece of software in illustrator, it is not entered to rename a layer. It is just double-clicking on it. Whereas an after effects, double clicking is going to get you nothing and you actually have to enter. So that's why that happened. All right. So we're going to save out our file and let's check out the different ways that after effects handles these import processes. All right, so here we are back in after effects, and now I'm going to show you the three different ways that you can get a file from illustrator into after effects and the ways that after effects is going to handle each of these import options.

Amy Sundin (08:53):

So the first option, which we already kind of touched on with the EPS file is important as footage. That one's a pretty easy one. We have to comp it really quick. So you can see what happened here. All it did was bring in one flatten layer. So all that setup that we actually just did, an illustrator is not preserved. It's going to flatten everything back down into just a solid layer. Now you could go through and create shapes for vector layer and then go through all of this stuff and separate it out. But that would make you a crazy person. And I would highly recommend that you don't do things that way. It takes a lot of time. And also you notice this gray shape back here, like the background broke. We'll get to that, but that is something that does happen when you bring in illustrator art, certain things will break.

Amy Sundin (09:49):

I promise we'll come back. All right. So we'll delete that one. We're going to import again, right? Import scene one this time, we're going to import it as a composition. So when we hit the import this time, it already like made a comp for us. So we're going to open that up. And if you notice this time, it actually did preserve our layers that we set up back in illustrator, which is pretty cool. The downside to using composition is that every single one, your layers is going to be the size of the comp, which makes it really hard to grab things. And it would make this file very cumbersome after a certain point to animate. So really this can work, but it's not ideal. So the best way to get your artwork into after facts from illustrator is to do composition, retain layer sizes. Now this one makes it calm for you again, and our layers are all here, but the difference is you saw it.

Amy Sundin (11:00):

When I highlighted it. Every one of these, it looks at the actual size dimensions of each layer and gives you this nice bounding box. It makes it way easier to grab things and your anchor points slightly more centered. You'll probably still have to tweak it depending on what you're doing, but this is way more manageable already. The other thing that you're going to notice is that if we bring our lady up, she's cut off at the bottom. Now that is just how after effects brings thing in things in, from illustrator, when you select this particular option, it does the same thing when you select composition and there is a way to get that information back in. So don't freak out. If you see something cut off, it just takes a little bit more work to get it back. So the way that we fix this and bring her up, so you can see her as we're going to convert this, create shapes from vector layer.

Amy Sundin (12:04):

And we're halfway there. If you notice she's still cut off right at this line, very, there is actually an artifact from the importing, like when from the conversion, I guess you could say, and what's happening is it's keeping that art board in there as kind of this bogus dummy path. So what you're going to want to do is find that art board path and then delete it out. Now, the way to do that is literally just turn things on and off until you figure it out and you see on path to here. This is the path that we want because our oops, there we go. So that's turning on and off and you can see that shape filling back in. So delete that path. Now, if you notice we still have a hole here that's because that thing's going to be on anything that was cut off.

Amy Sundin (12:59):

So you're going to have to find a couple of them in here and delete them out. Pretty simple, but still it could get really tedious if you actually have a lot of artwork, that's been cut like that. So I wanted to show you guys this handy script called explode, shape layers. It's been hanging out here at the top and there's a reason it's been hanging out here. This thing is, I think like 35 bucks, but man, is it awesome? I, we're not being sponsored by these people. This is just a great solid tool. If you're doing a lot of this work, you are going to want to get this thing. So we have our lady already done. I'll show you how to do this on the guy really quick. So what you're going to want to do is you hit this same button, you know, converts it to a shape layer, and then we can actually go in, oh, I hit the speech bubble. See, this is silly of me. We want the guy there he is, man. All right, convert him. He's converted. Move them up. Here we go. And then there's a button here and this buttons amazing because it takes all the art boards for you. And we're all done. Two clicks, easy peasy.

Amy Sundin (14:26):

All right, I'm going to move him back down now. So the next thing that I want to show you guys is what if we didn't break this artwork up enough when we were back in illustrator, there's a way to get around that. And it has to do with all of those groups that we were looking at down here. So let's say we wanted to actually isolate her pony tail to animate. What you would want to do is again, kind of turn things on and off, figure out which one's the pony tail. I've done this before. So I know it's group eight, it's at the very bottom. Uh, it will kind of do the layer stacking order. So if you know that that's gonna be the back most object, you can figure out roughly where it will be in that position there. So we're going to take group eight, we're going to delete or not delete.

Amy Sundin (15:19):

We're going to duplicate the lady first. Then we're going to delete group eight. So if we solo it, we just have her head now on this layer. And then on this layer, we're going to do the opposite. We're going to grab everything except for layer eight, delete that. And now we have just her pony tail isolated. And then we can just drop that layer back below there. And we are all set to move this thing around. Well, almost all set is the anchor points going to be off on it, which is just as easy as going into pan behind dragging the anchor point to where you want it. And the ponytail is ready to go.

Amy Sundin (16:07):

Now I'm going to show you again how to do this, but I'm going to actually use explode, shape layers. This, this is kind of a little bit of a quicker way to do this because again, you're not going to have to be fiddling around with, um, turning things. Well, I guess you have to turn things on and off again. It's a little bit different. We'll just show you. It's easier that way. All right, convert it to a shape layer this time we're going to explode the shapes out. So instead of having to turn eyeballs on and off, I keep hitting these speech bubbles.

Amy Sundin (16:43):

That's just how this is going to go tonight. All right, convert. It exploded. There we go. Remove the art board, check that out. Now we're getting somewhere. You can actually solo these now. So they're just speech bubble. So we can pick through an entirely solo objects until we figure out exactly which one it is that we want. So everything's isolated onto its own shape layer now, but we can actually go back in. And if we want all of these pieces together, we can merge them back together. So these are all merged and we're going to get rid of these excess layers. Now we don't need these. And then we have our ponytail separated. So it's just a slightly different way of doing things and it can be quicker just because you have that option of soloing instead of switching things on and off and try and figure it out that way.

Amy Sundin (17:44):

One more thing that I am going to mention before we move on to our second file that we saved out. Scene two is that if you notice after effects is kind enough to just leave everything there for you. And so as the explode shape layers, it can get a bit messy, but as you've seen, if you kind of just convert the wrong thing, it's nice to know that it's still there for you. You can delete them out when you're done, you can leave them there, whatever you choose, you could shy. Those layers doesn't matter, but it is kind of a nice safety that they hang around for you. All right. So now we're going to move into file two. All right. So in the second file, what we're going to do is if we don't want to do all of this work, kind of repressing our file over here in after effects is we're going to actually prep it in illustrator and kind of think ahead and plan. What would it be that we want to animate? So we're going to abandon seeing one and open up, oh, I've seen two already open. Perfect. So you're seeing two, we're still just on one board right now. And we're going to do that thing where we release the layers into a sequence. So now everything is ready to be brought out of that one layer. This is the tedious part, dragging everything out one by one,

Amy Sundin (19:23):

All right. And layer three appears a guide layer. We don't need this anymore. So we're just going to completely get rid of that. So now we need to think ahead, like what parts of these people would we want to animate and how do we want to separate them out while we've already decided that we want the girls pony tail to be separate? So what we're going to do is create a new layer and we're just going to bring that ponytail in there. There we go caught at that time and bring it back into its proper place beneath there. So now this will be its own separate layer in after effects. And we're going to want to do the same thing for any other shapes that we want isolated. So any faces, if we want the head to move independently from the neck, the arms to move the knees, to bend at a joint, whatever it is we're going to go through and separate it now.

Amy Sundin (20:30):

All right. So I'm going to do the arm arm. We're going to do our hand with no, we'll do the hand separate just in case. And then we want to do the face. Now, when you're going to pick up shapes like this and they're grouped together, you're going to want to use the group selection tool. I actually have this hot quiche set up myself. This is not normally a hot key. I'm just using shift a for my group selection tool because I do use this quite a bit and it makes it faster for me to have it set up that way. So we want all of these things together to take her hair together. So this whole head part is going to be together. And then what we can do to make this a bit quicker than just dragging each shape on control or command G to group it, then drag it into its own layer.

Amy Sundin (21:43):

So now we have an arm, we have a hand and we have the girl's head. Clearly the girl's head is out of order, so we'll throw it back underneath. So that's all we're going to separate for her. And we'll do the same thing over here for the guy. Now, now he's actually drawn a bit different. I want to point that out really quick. If you wanted this arm to be together, you put it on the same layer, not, you know, this could be a joint that you could actually animate in after effects. I also want to mention, if you set an anchor point up like a rotate anchor point, for example, this won't carry over. Oh boy, this is a bug in CC 2014. I can confirm this has happened to me on more than one computer. I don't know if this is PC or Mac specific, but it freaks out an anchor point is getting stuck and it won't come off.

Amy Sundin (22:46):

It's the most annoying thing on earth. I should mention. If any of you out here, out there who are watching this have an explanation as to why it's been doing that since the CC 2014 update, I will be super excited because I just don't understand why that happens right now. All right. So if you did successfully move your anchor point over there after effects, isn't going to carry that data over. You're still going to have to hit the pan behind and set up that anchor point in after effects. So don't bother with any of that stuff over here. Just leave that stuff for when you get into the aftereffect side of things. So I'm going to go in and group this guy off really quick, same thing we did with the lady. So this will speed up a bit for you.

Amy Sundin (23:37):

All right. So now he's all kind of grouped up. You got his arm. I actually might want to pull that arm shadow over. Now that I'm thinking about it, that would be something where you might end up redrawing this as another shape to get it, to move with this arm. Or you might mask this in after effects. Somehow you'd have to use some amount of creativity to get that, to move properly with the arm. If you animated it the way it's drawn in here, but we'll throw it in there just in case we want that. And we can always explode that layer later, if you needed to. All right, so we have these pretty well set up. Now you're going to go in and you're going to name everything properly so that you don't confuse yourself or so that you do like I often do apparently.

Amy Sundin (24:39):

All right. So now everything's renamed properly. We save the file. Command us, save early, save often. So the file saved this thing's ready to go back into after effects. Okay. So now we're back in after effects. Let's import our second scene, scene two. We're going to do composition, retain layer sizes again, and we'll give it a second to think about things. And there we go. Everything that we split up, all of our layer names are here and after effects ready for us to animate. Now I wanted to mention that goofy thing that we saw earlier, where the background broke when we converted it. So if we go in and create shapes from vector layer, again, you'll notice two things happened. The first one that I didn't mention before is after effects. We'll actually jump that layer to the top, which can be kind of annoying, but you just drag it back down to where it belongs.

Amy Sundin (25:48):

The other thing is after effects does not import gradients from illustrator, it will not preserve them. So you're going to have to redo any gradients that you have in after effects, whether you're using a ramp or you're using that gradient option. That's actually underneath the shape layers here, gradient fill. I personally prefer the ramp. So that's just me though. I'm going to get rid of that though, because there's not really a reason for me to keep that. I just want to show you guys those do breaks. So plan ahead, either plan to recreate that when you're back in after facts, or just leave those as the illustrator portions of this. So the other thing that I didn't really mention before might be a little bit weird to demonstrate in this file, but it's very, very important. Let's zoom up to there. Let's take her coffee and I'm going to move it out of her hand.

Amy Sundin (26:54):

And I'm going to scale it up really, really, really big. Now the whole point of bringing something in from illustrator, not just because you want nice vector art is because it will actually scale infinitely and keep redrawing that path. So why does this look like crap right now? It's because we actually have to tell after effects. So we want this to be continuously rasterized, which is the same switch as collapsed transformation. So you'll notice as soon as I hit that little button there, everything goes back to exactly how it should look. So it doesn't automatically turn that on when you bring something in from illustrator. So you're going to have to tell it on each of these layers to continuously rasterize if you plan on making something scaled up larger than 100%, when it comes from illustrator, well, we can just control Z. Alright, so let's just turn all of our switches back on.

Amy Sundin (28:00):

Why not? There we go. So that's all taken care of. Now, this stuff will scale forever and ever you can zoom it as close as you want and you won't get crunchy looking edges. The next thing that I want to mention is if you have something really complex going on Pathwise and you try to convert it into a shape layer. So almost Blackboard, if we look in illustrator, this is actually created by using the brush tool in illustrator. So all of these are just these tiny little paths. You can see them here and there's kind of this scratchy look to give it a little bit more of a chalkboard type feel. Now, when we go into after facts and actually try to convert something that complex into a shape layer, we're going to use explode, shape layers, because I can, and we're going to sit here and we're going to watch this now, because I've done this before. I know what's going to happen. And I'm only going to let it go so far before I turn it down and we're going to hit skip. So you can see it did something when we only got partway through, but you know what the heck is going on here after effects is freaking out right now.

Amy Sundin (29:33):

That's because if you look under contents, check out all of those, holy crap, there is nothing you can do with that. This is excessive. There are 500 pads here and this thing wasn't even close to done. So don't do that. If it's something super, super complex, again, plan ahead, leave that as a actual illustrator object, don't try and convert it to a shape because it will have a meltdown on you. I think I let it run a little bit longer in one of my tests. And it took, it was a few minutes and it got to like 2000 paths. It was something scary like that. So again, don't do it basically back here and after or illustrator, I wanted to show you guys kind of what after effects is actually doing with these paths. If you go under, so we have the selected, we're going to go under object, expand appearance.

Amy Sundin (30:44):

And this is exactly probably okay. Exact approximation. I don't know. I can't say exactly. I'm not that qualified, but I can tell you, this is what after effects appears to be doing. It is actually converting all this stuff into just points like this. You could see how that text was just glowing and after effects. That's because when you convert to a shape layer, essentially what it's doing is something like an expand appearance. So this is a good way to figure out if something's overly complicated for after effects, if you're really not sure. And on the fence about it, expand the appearance. And if it glows like this, we'll leave it alone. All right. So the next thing that we're actually going to cover, we're kind of in the home stretch here. I know this is a lot of information to take in. So where this is why this turned into a two-parter is going to be type from illustrator. Now we already set up our scene file over here, scene three, or get some coffee. W I lied. We have two more things to cover, but that's all right. So we're going to do that same thing, or we're going to blast all these out into their sequence layers.

Amy Sundin (32:16):

All right. So now we have our background and we have all of this. We have a blend shape, which is something new we haven't talked about. And then we have our type and this type right here is just standard. Like you can come in, still edit this regular old tight in illustrator. Oh dear. I'm just going to control. See that. So it looks like I current something there. So we're going to save this and we're going to come in and do scene three now. So same thing, composition, retained layer sizes, nothing new there. Open this up. Now I know some of you may know this, but from Photoshop, you can create shapes from text or create maps, masks from text. You saw that that was a tight path. It was fully editable, but from illustrator, we can't get that same editing capability that we had in Photoshop. I don't know why this is something that people want, but this is the world that we live in. We don't have that. And I didn't name my stuff this time. So I'm going to go in and fix that. Cause I'm driving myself crazy.

Amy Sundin (33:50):

That's our blend shape. And that's my background. There we go. Well, we missed an arc. We're going to leave it that way though. So the only thing you can, oh, and this gets even more fun. Actually, you go to create shapes from the vector layer on something that was not, it's a regular editable type layer from illustrator. You get an error, it is empty or unsupported content. So this is another one of those quirks that we kind of have to deal with. All right, I'm going to save this. Let me go back over to illustrator. Now, the reason this is happening is because after effects really just doesn't like type from illustrator at all. So you're actually going to have to create outlines if you want to make these into shape layers to be animated. So the hot key for that is, would be command. Give me a second command shift. Oh. Or control shift. O we'll outline your type. You can also find that under type create outlines. I know the hot key, so I don't really go up there much. And now, you know, the hot key too, so you don't have to go up there anymore either.

Amy Sundin (35:14):

All right. So we're going to save this. And when we go back into, after effects, it automatically updates. Now, when you outline the type, it moves this, it's probably just measuring this differently now than it was previously. So that's why we're getting that offset. So you're just kind of going to have to move it back into place. And then it was nudged just slightly over. So it's an easy enough fix. There's no need to go in and reload entire things. All right. So that's taken care of now. If we want to make that text a shape, it'll work easy enough.

Amy Sundin (36:08):

Now the other thing that I want to talk about really quick is going to be what happens if you forgot a layer, this is super important because you don't want to forget things. So let's say we needed another layer in this file and we will just make a, we'll make another text layer that didn't work out as according to plan right now, we really need our coffee right now That we do. There's our text. That's on layer three, as it should be. We have a right now and this typeface, well, we outlined our type

Amy Sundin (37:16):

That was code bold. Yes, it was. I remembered what type faced I used code bold. And because I'm a stickler for this kind of stuff, I am going to Kern this just a bit.

Amy Sundin (37:37):

I'm pressing Alt and the arrow keys to Kern the type. That's kind of a quick, hot, key trick that will make you a lot faster at what you do instead of having to go down to that character palette. I remember when I learned that I was very happy that day. Okay. Let's that's improved is much better. It's improved. So we want our coffee right now. We're going to make it white. We're not going to put the blend shape behind it. This is just for demonstration purposes only. And we're going to throw this on a new layer and we're going to save it. And we're going to go back to after effects and it reloaded. You saw it reload, but nothing came in and that's because if Blake Photoshop, if you add a layer, it's not coming in with it. If you save the file, it just completely disregards it.

Amy Sundin (38:42):

So you would actually have to go in and do an, even if you come up here and you go in and you can't reload the footage, or is it we want scene three. Pardon me? Yeah. Even if you reload the footage manually up here, it's still not going to bring that in. You can try anything you want. So you're going to want to import your file. Scene three composition, retained layer sizes, import that guy. And there it is. There's our type. So we can actually go into the scene four and we can pull that type out layer six and we can copy and paste it into the new one. And that's it. So now it's there. So what that's essentially, what you'll have to do is you'll have to re import the file and either pull that layer out, or you could always just pull that stuff out in illustrator.

Amy Sundin (39:44):

Re-save the file. Bring the new file in. That's the only way you're getting a new layer in here. All right. So the last thing that I want to quickly mention, and I promise this one will actually be really quick, is that blend shape that we saw earlier. So if we go in and we convert this to a shape layer, we see that dialog box popping back up again. And that's a bad sign because it's thinking way too hard about what it's doing right now. So we're going to hit skip, and just not even let it go. And you can see, this is kind of glowing up here and that's because it just made a ton of paths. So this is kind of a completely impractical thing. Once again, don't convert complex blend shapes over into, into shape players in after effects. Just bad things will happen. Plan ahead for that one too. Hey guys, thanks so much for watching this tutorial. I hope you learned a ton of stuff. If you liked it, please go and share it on Facebook, Twitter, or wherever it is that you look on the internet. And I will see you in part two.

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