Transcripts
1. Intro: What's going on, guys, this is Patrick again, we add another SkillShare premium class for you. Just a little introduction here, we'll be making these emoji-looking objects that became really popular on my Instagram pretty recently. So I've been getting a lot of feedback to make one of those and not only that, make those without using plug-ins. So the ones that I actually posted on Instagram, I used octane and even pro-render a little bit for some of them. So with this one, I wanted to make it very [inaudible] only use the physical renderer, which is native to Cinema 4D if you have it. If you have Cinema 4D, you should be able to follow along. I really wanted to cater to those people who didn't have that many plug-ins or any at all. It really doesn't matter which version of Cinema 4D you have in the first place. And we will be using Photoshop maybe a little bit at the end just for coloring but you'll be able to make the whole object in Cinema using no plug-ins at all. So I hope you liked this class will be using Cinema 4D and Photoshop. Just those two things. Don't even need Photoshop to follow along, but just for the end and of course we'll be modeling, lighting, texturing the whole thing. So create these things from scratch using no plug-ins. So I hope you guys enjoy it and let's get into it.
2. What We're Making: Hi guys, so we're here and before I get started, I want to give you a lowdown on what we're going to be making here. So I'm on my Instagram where I post most of my content. If I go a little bit further down, you're going to see I did a little bit of a series, here was actually one of them where I did some emojis and it brought them to life. They've been a really big hit so far, and specifically we had ones back here when I was using mostly ProRender, here. So I did a bunch of these emojis, these really caught on a lot of you guys like this stuff. It's just really pleasing to look at. Bring these emojis that we use all the time and text to life. So we're going to try doing that. Even though I made these in ProRender and Octane, a lot of you guys just want to not have to rely on any plugins. So we're going to do just that. We're going try to make these things as best we can using the Physical Render and nothing but the physical render which is provided to us already in cinema. So I think without further ado, let's try to make this here. Actually before we start, this is going to be the guy that we are making. So I'm going to drag this in here. I want to keep it fairly simple because, we are just trying to get the basic idea of this. I'm not trying to make a class that's too long. Trying to make so many parts of these emojis when in reality we just have to know the basics in order to make pretty much all of them. So pretty simple Z's, the indentations, the eyes and the mouth, and a little bit of a gradient going from inside and out. So they should be good.
3. Modeling: We have a blank template here. I made sure I didn't have any weird layout going on and that we can get started here. The first thing we're going to want to do is we have no objects, no camera, no nothing. If you click the middle mouse button or click this guy over here, you're going to get all of our four views here, a perspective top, front, right. In our front view, that's going to be the view we're going to want to see our background from. Because we're going to want to sketch this out a little bit. Usually to make the splines for the eyes and everything, I'd use something like Illustrator. I'm really going to try to use just Cinema 4D for this one with a little bit of Photoshop at the end just to touch up the colors, but to make this thing, just Cinema. There's a few different ways to get this image back here. We can go Shift V and go in our viewport tab, we can go to "Back" and this is where we can either click and upload a specific image. If it's in somewhere convenient like your desktop, which it is for me, you can just drag it in and there we have it. Looking good there. It's definitely it, doesn't have to be too high res. We just need a general idea of what's going on. Another thing that's useful is adjusting this transparency bars. Bringing this all the way up to like 85 will allow us to see what we're doing more, we'll also being able to see what we have to trace. The general thing we'll want to have here, it's pretty obvious is a sphere because this emoji is obviously a sphere. We're going to go over here and grab a sphere. We could shrink this image down to fit the sphere here but it's pretty evident that Cinema 4D likes us making things on a bigger scale. Sometimes when you build things in a very small-scale certain segments can trip out and glitch and we don't really want that. It's much easier to make everything, flatten it and minimize them after. At least for what we're making now. What we're going to do is drag this all the way up till it's about the correct proportions. Then we're going to change this segment is to like 60 and go to Icosahedron. Seems like a fairly good layout to start with. We have our sphere, so this is looking good. We don't have a camera. We can navigate around this thing. That is generally the shape of the gas. That was pretty easy. Generally, like I said, we're going to be carving in some eyes and a mouth here but we're just going to keep it simple and use cinema for this. We're actually going to use the pen tool to create this stuff. There's a million different ways to do things. You could probably take a shape and bend to form this stuff and then cancel it out but might be fastest, just to use a pen tool for this. I'm not particularly crazy about the Cinema 4D Pen tool because it's just nowhere near as intuitive as the Illustrator Pen tool or Photoshop heavy. We can just start here. I'd probably start by just clicking going like this, making a rough shape. Something like that. Holding down Shift and dragging these guys we have much more flexibility. We can go like that. It can go all the way over here, drag it out. Again, these are the things that nobody is going to notice if they're off by a tiny bit. Really doesn't matter too much, I'll spot on these look, as long as it's the general shape will be more than good. Let's see how we're looking at. Obviously, we're going to get some trips right here. Scale this thing back actually this one might be. This is exactly why I don't like the the pen tool in Cinema 4D. I always get tripped up on this kind of stuff. That should be good. We also have to worry about this guy. Just straightening those things out. There is a smooth tool within the settings as well. Which I haven't used too often but you know, we're clearing up some lines here. Like I said, we can smooth these a little bit later. As long as none of these are looking too junkie. Like this guy already, keeps that where it was. As you can see, I'm so not a pro using the Cinema 4D Pen tool but no one seem to notice how bad my pencil skills where when I was posting this stuff. As long as we get it, roughly how we're looking, it'll be fine, especially for this class. You guys will get the idea. A little bit confused on this area here, not too crazy about it. You just take this guy. Not bad. Getting some weird edge here and I still don't fully know how this spline smooth tool really works. Apparently that worked, that fixed a decent amount of it. Not bad. Took away one of those splines. This is fine with me and we're looking good here. I'm happy with this guy right here. Not the prettiest but it'll get the job done. Now if you'll notice, this axis is centered well. We clearly are not centered on this spline right here. To center it, we're going to get a mesh. X center and center access to. Now we're center it on this spline here. What we'll want to do is although it's on the left eye now, you could just hold down Control or Command and do that. However, I think it might be a little bit easier and more exact if we zero the coordinates out for this one makes sure we are all zeroed. Then hopping in a symmetry object and hopping this guy inside. Now instead of moving the symmetry object, because we don't want to move both of those as a pair. We would just move the spline inside and move it on to one eye. Then it directly makes this stuff parallel and exact. That looks good to me. All we have left to do is create the mouth holes. Mouth holes is very easy. Just create a cylinder and obviously we haven't cut anything out yet. We are just tunneling the foundation, so tracing where the cutouts will be. We're going to take this cylinder here facing the wrong way. Pretty obvious fix. We're just going to go to the Cylinder Object Orientation. We wanted to point towards the X, plus or minus? That really doesn't matter. Drag this down. We have a nice mouth and if it's off a little bit, that's totally fine. We're going to go over here and drag it out a little bit because we'll want to definitely be cutting into the mouth. Before we actually get ready for the indents, we're going to want to make these splines. We're going to want them extruded. What we're going to do is in this spline here, we're going to hop in an extrude object. We're going to put the extrude object actually underneath the symmetry and drag the spline underneath or as a child of the extrude. Now, we should see, if we drag the symmetry out, some extruded eyes, which is perfect. They can be as far out as this because we can just take the extrude and extrude them all the way into where they're creating an indent there. Even though we're not actually indenting anything yet, you can tell what's going on here and what it will be. That's looks fine for me. The next thing we do is actually indent these things. I may help to take you to display, go to Hidden Line just so we can see these segments intersecting. What we'll do actually is get our Boole object out. We're going to hop the sphere, and to make this easier, we can actually tie this stuff. Head, the spline will be eye, I guess we can do the symmetry eyes, cylinder mouth. What we want to do is grab the head and put it inside the Boole. The way the Boole works is pretty much the first object you have or the main object goes in first and then underneath, the main object will be what is being subtracted. We want to obviously subtract the mouth and the eyes as a pair. We're going to actually collapse these two into a group. Alt G and we call this Cutouts. Then evidently we're just going to place this underneath the head within the Boole and there are cutout. This is looking good. We have some ugly segments being made over there. However, that's an easy fix. All you got to do is click, "Hide New Edges" and we have our nice little cutout there. That's looking good for me. If you want to make the mouth a little bit less indented yet full rain. This is obviously non-destructive as far as now. This is good for us, and the eyes, you can do the same thing, so just grab the eyes and just drag them out as far back as you need. That's good for me. You can see we're still on par there with the actual model. That looks good. We may actually be able to work on these Z's before we move any further with that. On this panel we can zoom out a little bit and go to MonoGraph, MoText, and there we have some text. I would think just one Z to start and then we can create more of them and duplicate them as we go. I don't think this is an exact right type of Z we're going for, I think we need something more bold, but this is generally the size, so we're going to click "MoText", and right now I'm on Segoe UI if the default text it gives you. We're going to align this to make it easier, middle, cool, and then go regular to bold. This is looking more like what we're going for. Looking good. once we have one Z, we can really control and drag. I'm on a PC if you're on a Mac, I think it's command. We're going to scale that one up, make it a little bit bigger, and really just trace these Z's. It doesn't get much easier than that. Same deal, a little bit bigger. Dragging down, a tiny bit bigger there. There we go. We have three Z's. Obviously they are not positioned correctly. However, what I'm going to do is group these and just title these ZZ. That'll be a group of Z's pretty self-explanatory, and then we'll just take this, I guess in the top view and drag it forward until we're not being torn out, running into anything. We can see from a front view, it looks nice. That reminds me, this may be a good time to add a camera so we can actually get our placement ready to make sure the Z's look nice. We're going to open the camera, clicking this guy here. We're going to zero-out all of these coordinates and zero-out the rotation. You can leave the scales how they are. We're going to zoom out of these Z just like that. Depending on how small you want this to be, we can make this like a portrait or what have you and zoom out a little bit more. That will look nice. I think this looks good as of now. If you want to make these a little bit bigger based on your taste, that's fine. Think I'm probably going to I'll leave them like that. That seems about right. We're good to go. I think we're actually good to flatten this blue object, which we can call emoji. For this one I'd actually don't think we're going to have to create a single object because it'll be much easier while collapsing this to shade the eye sockets and now separately as there will be different objects in the hierarchy. If you want to keep this as non-destructive if possible, you'll just duplicates. Control drag and call this Non-Destructive Emoji. Just call this Destructive Emoji. That looks good. We can turn all this off. We don't have to worry about that now will be using the destructive emoji and just click "C" and this flatten everything for us in which we will actually collapse these two in a group because the Z and the emoji have at least one group at the top of the hierarchy. I should call this Destructive Emoji. We're looking at there, this is still editable. Everything is totally non-destructive, and we can keep that for if we ever mess up on this guy. We've got the Z's and which are actually non-destructive and the emoji, which is currently separated in groups now. We have the destructive emoji, you get the head, we have the cutouts, which we could share it I guess together. You can see they're actually cuts. It's literally a hell object without them, which is totally fine for this purpose. It's going to be a still image. It'll look fine. We have the separate eyes that we can move wherever we need. Cool. That's looking good. I guess we can start getting into the lighting before we shade this thing, so let's start here.
4. Lighting: Now that we have our camera setup, which is cool, if we want to lock this here, let's go Cinema 4D Tags and Protection. Now we can no longer go in and out, rotate, or move along any axis really. The next thing we can do is actually creating another view panel booths before we start looking at lighting situations. Because we want to have a live viewer window similar to Octane or any one of those GPU or nicer CPU renders. Let's create a new view panel and drag by the square on the right so we have this window at our disposal and to hop into this camera the same way this is. I am just going to click View and Users render view and hop inside the camera. For me this is nice, but I like seeing the black border, so I see exactly what's going to be in frame. With this frame selected, I'm going to shift V, go to view and take the opacity up to a 100 and same thing with this guy, 100 percent.This one's actually working as well. You just can't see it because of how it was actually perfectly spaced out. But as you can see, both of these now have borders. I like to keep this window a little bit smaller when I'm working with the physical renderer, because the smaller the window is, the less time consuming the render will take, especially for a pre-render. So this is looking good now. If I were to go Alt R, while hovering over this render view, we'll be able to see the pre-rendering. In fact, I don't think we will be because we are currently set to Octane, at least I am. We're going to set that to physical and we can now see. We can get a clear view if we drag this little triangle arrow thing here all the way up to the top. Now this is a clear view. A couple of other settings we want to change before messing with the lighting that are very instrumental to this is going to Effect and Ambient Occlusion. Now we've got some nice shadowing towards the crevasses and all that stuff that is realistic. We're going to also click Evaluate Transparency. That's just a habit of mine even though we're not going to be using transparency in this project and also clicking Global Illumination in the Effect tab, which will make it pretty much invisible because now it relies on us adding our own lighting, which is essential for making this thing look like anything at all. So that reminds you the next thing we want to do is probably save this project. Go Command S and for me I'm just going to save this on desktop and then I'll move everything later. But we're going to save this as, let's say, emoji class. That is what I will call this thing. Now we don't have to worry about this glitching out ever. Now we're still on this pre-render view, but we're not seeing anything and that's because we don't have any light. The first thing I'm going to do is hover over this guy and create a sky object, which will give us our first ambient light that's wrapped around the whole thing. The next thing I'll do is create a plane light, like taking a plane and title this overhead light and with the split view setup by clicking on the middle mouse button, we can increase the size of this guy. You can see just by placing any object above it, we're creating a nice contrast in this image. What we'll do is actually move this all the way up till it's out of frame and create a first material, which will be our lighting material. We can call this OH light, which would be overhead light. Let's take this material, mouse is being very glitchy lately, and drag this on the overhead light. Now let's open up this material, drag this to the side so we can see. Take the color off and the reflectance off, but the luminance on. Now you can see we have a little bit of a nice overhead light there. Before we get any further, lets go to the Illumination tab and click Polygon Light that'll prevent some splotches that may happen from lighting an object with a specific plane. We're going to take the luminance brightness all the way up to 250 percent, let's say. Looks nice to me. We get a nice little head light there. What I would actually like to do before we get any further is taking the Z's and highlighting all of them and go into caps and adding a filler cap just to add some, what do you call it? Some highlight on these edges here. It'll look much nicer than just having a flat corner. So that looks good as of now. I also like adding some floor object. For these ones, I've been using cubes or what have you and placing them directly on the bottom, which this actually matched up perfectly. We're going to drag this guy all the way to the right and dragging this guy a little bit down to something like that and maybe adding a little bit of a filler. Not that much, maybe two. Looks good to me. Now we're getting something that looks pretty nice.
5. Texturing: Let's add a texture to the actual emoji. We can start texturing this thing. So we're going create our first texture. We're going to call it head [inaudible] , and we can just drag it on the head, simple as it sounds, and so it's texture to the sky. We will probably want to go into the color channel. In fact, actually take the color channel and turn it off for now, and take the reflecting channel and turn it on. Let's go add layer reflection legacy. I really don't want a Chrome object. We want something a little bit less creamier than that. Let's go choose something like 15, and because we don't have any color on this, it looks black, but that's fine for now. We're going go to luminance and turn that on, and within the luminance tab we're going to go to texture, effects and subsurface scattering. This is going to give us that glowy feeling. Someone who would like a candle effect, irradiating from inside when light hits it. As you can see the top light is hitting it and you can see it glows a little bit on the inside. So we're going to open up this guy and change the pathway to something like five, and the lower this number is, the longer the render will be. So you don't want this too low, at least not in our case. Then we're going to take this string up to like 250. Much brighter irradiance they're going on, and then we can take our guy here, take the strength out of the saturation all the way up. So this will give us this red glowy effect inside. We'll make this something similar to what it should be and drag this all the way up. So that's looking nice, We're getting our little emoji effect here, and now we're going to actually turn the color on. So it washes it out because we're blowing it with red. So we are going to take this texture and go to Fresnel. So where it's white, we can change this to a darker like orange, sunburn orange here. So I believe that's what we need, cool. So I guess around the edges we're getting a little bit more of a sunburn orange, which is nice. We can drag that all the way up and maybe actually drag this forward a little bit. Cool. That's looking good, and if we want to get more detailed, I think we can take this shader within the subsurface scattering effect and go to Fresnel. Cool. So we're definitely getting this orange stuff on the side like we wanted. However, I think where it's black, we want to have back that yellowish emoji look to it, and maybe where it's white, add darker look. Cool. So that's looking good, and yeah, I'm pretty happy with that. Of course, we can tweak these things as much as we want. We can even take this make it a little bit more faded that way, I like that, looks good to me. You can tweak this however you guys want later. If you want any little reflection, differences or bump, I would do that now so you can take the bump here. For me I'm just gonna go to a simple noise. This will be way too much. Starting to look like an orange or we can just change it to something that may give off a little bit of a texture and take this down to like five. So I think if you look really close, you'll be able to see something maybe if we take it up to like 15 percent. I think the satellite texture has worked by far the best in this case, that looks fine. So it's looking like some sort of texture, but nothing too crazy. So we're going to take our next texture, double-click there or create new material, and title this sockets, and this we'll be like inside the mouth then the eyes and what have you. So now we can just take within the destructive emoji tab. We can actually place this texture that's titled sockets on the extrude here, control drag and on the mouth. So I believe that will have gotten the eyes and the mouth, yeah perfect, and see a little bit of white there and some white there. Take a sip of water real quick, and I'll be right back. Alright, so we're going to go back here and can't texture the socket. So I think if you look at the actual emoji, if I had to take this out here sockets are a little bit like light brown because the shadowing, so that's no problem. Let's go back and texture to this guy. Just drag this towards the top. Make this a little bit orangish yellow. That's already looking nice. So we can take the brightness up to maybe 200, not bad, and then we can just take maybe in the middle let's go with 150. That looks good to me. You can always change this for later. Maybe you take this down a little bit. A tiny bit more and we should be looking good. Depending on how big you want the reflection of the plane to be, because I think in the actual picture it goes down to like here. We can make the plane emoji a little bit bigger and you can see how much we're affecting the overhead just by dragging that. That will in turn also make everything a bit brighter. But this still actually looks good to me. We may be able to meet in the middle with the luminance by going to maybe 200. It might make it a little bit more manageable, there we go. I think you're crazy. But I'm happy with the way this guy looks and I'm going to start moving on to the Z texture. So I think we can take another texture, just click Z, and these will obviously be blue, so we can just place it over. The whole z folder has a hole here, we're still on white. We can open up the texture here and we can actually change the color to blue. I think we're something like this, blue. That's what we're going for, cool, and maybe even a little bit lighter, not bad. Maybe a tiny bit lighter, and I'm happy with that. I think we can add some reflections too. If we add some reflection legacy and take the first layer down to like 15. That's looking good to me, of course you are on bump. Maybe can add little bit of a bump here, and a very subtle noise. Something like poxo, and scale it down to like five because we really don't need to go too crazy with this guy. As long as there's maybe a little bit of a fragments here we're looking good. Now it's just texturing the background layer and the floor, whatever you guys want that to be, whether you want this to be shiny or not. Let's see how we can texture this guy. So let's create a new material and drag it on the floor. We can texture just really whatever you guys wants. So if we're thinking orangish, bright orangish that maybe nice, and because we got global illumination on, we're getting all these reflections and light hitting it from every direction. We can honestly add this to the background layer as well, which we actually have not created. Let's create a background layer, and now if we were to add the texture to the background layer, you noticed that nothing is actually going to happen because we're still using the reflection and the light coming from the sky object, which we do want. However, we don't want it to be blocking the background layer. So to keep all the light hitting the object using the sky, but also making it invisible so the background layer as possible. Let's go to compositing tag and just check seen by camera. Now we're going to get like a seamless background that we're going for. So I'm actually happy with this. If we want to take a little bit more control over the general lighting, we can create another material called this guy and drag this on the sky. So now we're actually given this whole image, a much brighter vibe, which may be good for something like this and emojis, and just dialing down the lightness of the diffuses. How are we going to light this thing? So this is a little bit darker. A little bit more, and that should be good. Perfect, I'm happy with that, very simple guys, and this might be a little too crazy of a texture for here. Let's go to the bump again. Scale this down maybe 75 percent, and drag this to 10 percent strength because we don't need anything that crazy, just something very subtle. So we're looking good there, and then based on whether you went up to field, which in my opinion wouldn't have any use in this scenario. Because there's nothing you could tell is out of focus or in-focus. If you're focusing on the emoji, it's a seamless background. This should be good, and this is pretty close to what I was creating earlier using octane. Even though this is using zero plugins at all, and we're able to do this pretty non-destructively, and so we get to texture this stuff. We still have the non-destructive object here. So we've got the camera, we got a lock on it, got the sky object with a compositing tag, overhead light, cube, which we can call the floor in the background. So we have all of these objects and the destructive emoji and everything's looking good. So I think we're looking good and we can look on the render settings now and how to do that.
6. Render Settings: For the Render settings, obviously, we're going to click this guy here, the render settings. For the most part, we're actually good. Everything's running pretty fast. We're going to go to fixed here in the Physical tab. Then we're going to go too high and then take all these values, including the subsurface scattering value to four. In the Global Illumination tab, we can take this down. I believe, we should be able to take this too high. So that should be good here. Taking this too high, we'll definitely make sure that we have minimal splotchiness. If any of you guys have ever run into that problem, it's most likely because this is not high enough, or that the lights you're using are too small and too bright, and/or haven't been optimized. I've been using plain light. This is not a plain light. This is the other materials, so we don't have to worry about that. We can make sure we save it again. We can make sure our output is something like 1200 by 1200. That looks good. Everything here looks good. We don't have to worry about frame rates; we're not animating this thing. I think we're going to bump this out. We want to make sure that we bumped out a 16-bit TIF, which I think you can just change once it's already rendered. We can click "Render". Let's see what happens.
7. Post Coloring in Photoshop: All right guys, so it looks like we're rendered here and it only took about four minutes, which isn't too bad for the physical render, I've seen much worse. Let's save this guy, just go right-click ''Save As'' and let's go TIF 16-bit channel. That'll give us a little bit more latitude to change the colors and everything without distorting it. Click "Okay," of course I'll say this again, just to make it simple here and call this emoji class and save it somewhere, and let's open up Photoshop now to kind of further edit this thing, maybe add a little bit of "Grain" and to bring this thing to life. We're open here so we can kind of go over here and go to the "Desktop" and open up the emoji class and here we are. Notice this thing looks a little bit flatter than we just saw and that's exactly because of making it a 16-bit TIF instead of 8-bit. Let's go "Command" J, which will duplicate this object here and then we can convert it to a smart object by right-clicking it, and all that's going to do is allow us to add a filter like a camera filter without being destructive, so we can always go back to this dialogue if you want. First thing you're going to want to do is increase, not the saturation, the vibrance a little bit. Then we're going to go to "Split Toning," give it a little bit of those reds, should be good and the highlights a little bit towards, let's go to the blues and see what happens. I'm liking a really warm image for this specific one. This actually works for me and if we actually don't want it to be as orange, we can always move this stuff right and left. If we go to the oranges, we're going to bring that back to yellow or make it more orange depending on what you like. I kind of vibe with more of the orangey look. That may just be me. Without pushing it too far, it starts to distort. But this actually looks pretty good even though it's not really how a regular emoji looks, this is probably more accurate. We can meet in the middle there, let's go plus nine for that and it'll be a little bit different for you guys, but that's generally what we're looking like, and we're just going to go to the "Effects" tab and add some "Grain" because notice this is very seamless, while some aspects are a little bit more grainy maybe. But let's add a little bit here and although you may ask why I may tarnish the image by adding "Grain," to me, it adds a little bit of texture and honestly some realism as if it were taken by an actual camera and this actually looks good. We want this to be pretty poppy. We can even bring up the blacks a little bit. Shadows look fine to me. We bring those down a tad bit, contrast, and this thing looks pretty done to me. Yeah, I think that's good. I don't think we have to worry about too much more of this looks fine if we actually click "Okay." We actually have this camera filter, like smart filter box pop up here and we can actually disable it and enable it or also jumping back in with all the settings we just previously made and if you want to make a preset out of this stuff, you can just click that tab and you preset and it'll save everything you need and title it for you. This looks good to me guys. I hope you enjoyed the class, and the last color to it, you can go "Hue Saturation" over here. Bring this dialogue up and if you wanted to see what it looked like in a different color by all means. But this stuff looks good to me and I'm happy with it. Without further ado, enjoy this class. I can't wait to see what you guys come up with. Please send me your class submissions, I'd love to give you feedback and if you send this stuff to me on Instagram, my actual specific Instagram that you can submit to me as Patrick_4D, so if you actually submit this or DM me a photo of your class, I'd love to share it if I get to it. I love sharing the students works. That should be good and for sure everything worked out pretty nicely. Pretty short class, I don't think we hit an hour, only about 40 minutes I'd say. But this is good. Please give me a thumbs up, but I will review this class it always helps get the word out, get these classes featured and as promised, we didn't use any plugins. I mean, we have Photoshop, but [inaudible] near everyone has Photoshop nowadays and we're looking good. Thank you guys for watching and we'll see you in the next one. Please let me know, maybe DM me or whatever on a feature class, comment on my post here on Instagram and once we have 50, we have some 50k we will be doing some really cool stuff. I can't wait to show you guys what's popping once that gets launched and we're looking good. Thanks again guys, take it easy.
8. Outro: So thanks again guys for watching this class. I really hope you got something out of it and hopefully you guys can make some new types of emojis, maybe ones that aren't even made yet using the skills you learned in this video. As always, please get this thing with thumbs up, review it. Any feedback you may have. I mean, all the feedback helps these things get on the featured page and trending and on stuff. The more you guys give me feedback at all, the better the classes will be in the future. So I appreciate you guys watching this stuff again and let me know, DM me your projects on Instagram. I'd love to share them or let me know some recommendations for future classes. I'd love to cater o those needs as well. So appreciate it guys and we'll see you in the next one. Thank you.
Patrick Foley, 3D Artist
