Good Letters, Great Words: Drawing a Cohesive Hand-Lettered Piece | Isabel Urbina Peña | Skillshare

Good Letters, Great Words: Drawing a Cohesive Hand-Lettered Piece

Isabel Urbina Peña, Designer & Letterer

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10 Lessons (1h 3m)
    • 1. Welcome!

      1:47
    • 2. Project: Hand Letter the Name of Your City

      1:51
    • 3. Materials Needed

      0:25
    • 4. Brainstorming + Inspiration

      4:36
    • 5. Understanding Letters

      1:53
    • 6. Defining Letterforms

      14:00
    • 7. Sketching

      16:24
    • 8. Drawing in Layers & Refining Your Sketch

      11:24
    • 9. Inking

      9:38
    • 10. Final Thoughts

      0:39

About This Class

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In this hour-long class, you will learn how to design an original piece of lettering in a step-by-step process, starting with analyzing and understanding the construction of existing letterforms to come up with an original stunning, well-informed piece of lettering.

For your own project in this class, you will hand-letter the name of your city, hometown or neighborhood. This project will allow you to practice the basics of lettering and sketching, and by the end of the class, you will have a final inked hand lettered piece.

This class is great for designers, illustrators and type aficionados. No previous lettering experience is required, since the class will guide you from the basic construction of a letter, to sketching, refining and inking your piece.

Transcripts

1. Welcome! : Hi, my name is Isabel Urbina Peña, and I'm a Designer and Lettering Artist based in New York. I currently work at Random House where I design book covers. I get to work with type, hand lettering, calligraphy, and handwriting on a daily basis. One of the things that I love about lettering is that I get to create a specific custom piece for the client or author in this case. It's really special because you get this piece that it's only going to work for them. So it's almost like illustration in a way. One thing I do a lot is go to the drawing board and sketch everything out first, just go through my ideas and try some things out, and that allows me to look and feel what works and what doesn't. For this class, the goal is to create a cohesive piece of lettering in which all of the letters are relating to one another. So to do that, we're going to gather references, sketch a lot, refine your drawings, and ink them to get to a final piece of art. I think it's important to know that each letter is unique, but it also relates to the other letters in your words. So it's important to think about it as a group, but also as an individual. Each one has its own characteristics, but they're also related to one another. I hope that after this class, you feel more confident about drawing your custom projects and letters, either for your client or for yourself. I'm looking forward to seeing the results. 2. Project: Hand Letter the Name of Your City : For this project, I thought it would be fun to letter the name of your city, home town, or neighborhood. This will allow you to practice your basic lettering skills and sketching and also making sure that your letters belong to one another. I'm going to start by making my list, and I'm going to put in Caracas, which is my city, Venezuela, my Country, New York, where I'm based, Brooklyn, my borough, Green Point, my neighborhood. Looking at this words, I think one of the funnest one would be New York, because it has a lot of variation in the letters. None of them repeat. It's also two words, which could be cool. We can try two lines or we can try capitalizing the N and the Y. Also, if you're not feeling comfortable doing a really long word, you can try abbreviations like NYC or USA, whatever you like. Make a list and let's seen what you come up with. Pick a word and let's get some references. I really encourage you to look at the project gallery and upload your own process there, and also see what do you like and what is not working for you. What would you do differently? That will help me understand your creative process and why you're doing things in a certain way and not others. Also look at a lot of references and gather as much as you can. That will help train your eyes and make you better at this. 3. Materials Needed : Before getting to sketching, make sure you have a following items at hand. Tracing paper, either on a role or a pads, pencils, erasers, and for your final ink piece; Microns and Sharpie's. You'll also need some paper, and Bristol paper of any size. 4. Brainstorming + Inspiration: Now that you have your word comes the fun part of brainstorming. With New York, I can think of skyline, altitude, modern, but it could also be retro because there's a lot of history in this town. I'm thinking about that, I like that. There's a lot of history here, I really like the 20's and the 50's here, just because there's a lot of neon lettering in scripts, and the jazz age, and there's a lot of baseball ephemera that's really fun and cool. I recently did a project where I was researching a lot of movie titles and all this stuff, and it was just amazing how much variety there is, and it's just something that I really like. It has a lot of charm and nice and vintage feel to it. So when I do these lists, I tried to write everything down, I don't mind if it's silly or feels really basic, I just tried to write everything down because then that will help me define what I want to do, or where I want to go with this idea, so it can be really simple like this skyline thing, and you can take it to a whole null or level in these different steps that you're going to go with. I think for my project, I'm going to focus on retro and baseball, all that stuff. I think it has a lot of character and flare and vintage charm that I think it could be really fun. Make your list, write everything that you can think of, it doesn't matter if it's really basic or silly, you're going to take it to a next level when we get references. So just write everything that you think of and then define a certain path that you want to follow, and that will help you a lot when you're finding your own voice. After this, I will gather some references, and what I'll do, is I'll find things that catch my eye, and just everything that I feel it's related in my case to this time period or baseball ephemera. You have to find your own references that relate to whatever concept you're working on, but try to look for things that catch your eye on a way or another, and then after that, you can decide if you like them, if you want to go through that route. But at first, just try to get everything that calls your attention. If it's color or shape, or a specific baseline that looks this way or another, it's making it fun, if you wanted to do something exciting, just try to see what speaks to you, and then after that, we're going to look at the content and just purge it a little bit and just go through things and decide, we'd like that there's very specific shape here, or I like the letter forms. Just decide what your liking on each one. So for example, in my references, I have this Dodgers wordmark that has a curved baseline. I'm just thinking that I really like how it's working. Even though this lettering has a little bit of contrast, I'm just going to take it because I think it could be really fun to make something that it's not a straight baseline. Also, there's this Yogi Berra lettering that has this really good brush feel quality to it. It almost feels like the tool is there, like you can really see what made it. I like that it's also a little bit slanted and it doesn't have a lot of contrast, so let's keep this one. Another thing that I like is how this time period has a lot of slanted and diagonal baselines. In these other two examples, I like how the baseline is angled, and there's also a consistent slant to the letters, that's really nice, and also there's not a lot of contrast. That gives it a very vernacular feel to it that I'm drawn to. So we're going to come back to these references, but for now, keep them around and look at what you like and what you don't like about them, and which ones are working better for the idea that you have in mind. 5. Understanding Letters : Before we go any further, I think it's important to talk about the difference between calligraphy, lettering, and typography. Calligraphy, in a nutshell, is the art of handwriting, so you're using your pen to create letters. The stroke of the pen is what makes this letter, so you're doing it with one or two or three strokes only. Different from that, lettering. It's a drawn letter, so you're constructing the letter and you are using this piece for only one purpose, it cannot be reused. In the case of typography, it's a completely different animal, even though the three of them use letter forms, typography is a system to be used by another person, so you can type something out and you can reset whatever words you want. I encourage you to look up the three types of examples. There are so many calligraphy masters that have amazing examples of writing and different hands. Learning and understanding this will help you a lot in your process. Also, there are amazing lettering artist and if you want to focus on a certain style, you can look at references for that. In the same way, I like to look at foundries and their work, and sometimes when I have doubts of how a letter is supposed to work, I look at certain typefaces that I know have been well-done or well-designed by a specific foundry that I like. I've included a list of references in the class project section, and you can look at those and obviously, add your own if you feel like it. I tried to keep it really short but very well-curated, so I think you'll find this useful. 6. Defining Letterforms: When looking at these faces and thinking about your own, there are fewer variables that are good to keep in mind, and a few questions that I ask myself when approaching this type of challenge. So for example, one of the first things that I try to define is what type of construction, and that will define a lot of the aspects of whatever lettering you're going to make. So for example, I would ask myself, is it a sans or a serif or a script. That will define a lot of things like if we're doing an S, that it's a sans, we won't have any terminals and probably it will be mono linear. Not necessarily, but a lot of the times it has really low contrast. Then if you're making a serif, you might go with something that has a little more contrast. It also helps to think about the construction, how were this drawn originally? For example, the serif, it first came about from the chisel on rock. On a script, it was done by the quills so the contrast of it is a little bit different. There's usually a really thin thin, and a little bit of contrast too on the serif on our classic script. Of course there are many things that you can change and we are going to try those soon. You could also try things like black letter or ornamental letters, and then I also try to define what type of contrast do I want this letter to have. So what we were talking before, do I want this serif to be really contrasty, or do I want it to be a little more modulated? So I could add a little bit of weight to the thins and make it a little bit less pronounced, and that will change a lot how your letters look and feel. I also try to think about the X-height in relationship to the other letters, the capitals, and the extenders. So for example, if I have an H here, what's the relationship of the height of the lowercase? So is it very different or do you have a really high X-height? Then this defines a lot of the characteristics and gives your letter a different flavor in general. Just going to make one more so you can see how it looks next to the H with a really high X-height. So I'll see the relationship is completely different, this feels a little bit cuter and this feels more extended and a little bit elegant in a way. Another thing we can think about is the spacing. So for example, if you're making a very large display face, you can have tighter spacing, but if you're making really small letters, let's try this. Let's say we're making this and it's going to print at this size. I'm just going to try to have a regular space here that allows, but if I were going to do a larger sample, I probably would reduce that space. So for example, I close this up a little bit. So this space optically looks the same. This space looks like this space. Also, you can make a really condensed typeface and that will need a tighter space in between the letters. So if you make this with a lot of space, you might lose your word, it will be harder to say. "Oh, these are two letters that are connecting." Let's show you really quick. I put the I here, starts to disconnect. So it's good to play with that and see what works best for whatever you're drawing. So look at the difference, really big. This is almost half of the weight of the vertical stroke. But then this becomes really hard to read as a word. So it depends on what you're doing though. If you had serifs here it might work because it's filling up the space a little bit. So it might be enough to connect them even though the space is larger. But it's good to think about these things and give them the importance that they have. Still too open, I will close this up for sure. There are other things that you can play with that will make your lettering piece a little more exciting. One of the things that I like to play with and experiment is the baseline. So you can have a straight baseline. It's pretty much what we see when we type letters out in our computer. Common way of typing. We could also do a curve baseline, which could be curving up and down, could be curved this way. If we do it on here, it would increase and change in size. So that's another factor that you can play with. You could also do a diagonal baseline. This, I'm going to make it also decreasing just so you can see easily with this two letters that I'm working with. But yeah, just think about the things we mentioned before, like where's the x-height of this? Let's keep that in mind. The weight should be consistent throughout. So this all gives your piece a different flavor. So it's the same construction, it's just a different baseline. We have this straight, curved. You can curve in so many ways and it's curved again. This is diagonal with decreasing, this is curved with consistent, and then this is decreasing as well. So you can do a lot of these things to play your letters and just get closer to the concept that you're trying to represent. Another thing we can do is have dimension. So for example, in this piece, I'm going to make this serifs a little bigger so you can see. If we wanted, we could add a projection. I think there's are a lot of fun. But depending on what you're doing, of course. We want to try to keep your baseline. I try to sketch really rough and quickly and then I'll refine this stuff in my final drawings just to get an idea of where things are going. I'll do just a few lines that guide me and tell me where things should go, this is probably going to be filled in. The other thing that's really important is the slope. If you're working with scripts or italic, you want to keep the slope consistent. So for example, let's say we have a really straight baseline and we want to do a piece here, we want to keep the slope at the same angle. That's what's going to give a rhythm to the piece and it's going to make it feel better. So for example, let's try doing our hi here. I'm just going to make it lowercase h so we get a better. So if my slope is going all over the place, let's do another example like this and then I really diagonal hi. Unless you're doing it with a specific purpose and it repeats and it happens in more than one place, it's probably going to look off. It's not going to feel natural because the scripts come from the pen, like what we were talking about before. So this angle was always consistent in the penmanship, you would keep your pen at the same angle. That will give it a rhythm. See how this looks strange. This feels much better because it's almost that same exact angle, at least we try to make it the same. This will make a much better. Another thing that is good to keep in mind is the contrast and where it's going, where is it? Where is your contrast going? For example, in this portion, because we were drawing something that is supposed to come from the pen, there's always a thick in the vertical strokes and then the upstrokes are thinner. This is how you would make this with a brush. You would start here with a really almost not touching the paper and then press them, then go up again, almost not pressing and then go down. So when the brush hits the paper, it swells on these strokes and that's what's giving it the rhythm. It's making these strokes consistent. So if we're doing lettering from scratch, we have to think about what type of tool we're using to make this letters. This will give it a lot of consistency. 7. Sketching: With all of these in mind, I'll start sketching. I'll try to bring my references back and decide what I want to explore. For this particular piece, I like a lot of what's happening on the St. Louis Cardinals piece, and the Little League. I want to tell you what I like about these pieces. Basically, I like how it has almost no contrast, it's very mono-linear, it's also very sloped. I'm going to try to add to that a little bit of a diagonal baseline and see what happens. I'm just going to roughly sketch out here my lines. Because this is just a first sketch, let's try to draw in a little bit of the letters. I think that x-height is a little too high so I'm going to bring it down. We're just sketching in the first steps for this stuff. Maybe I'll do like a really big y, and a short descender. Try to keep in mind that this is getting smaller because it's on a decreasing unbounding box. I'll do this first. In this case I didn't do the slant so maybe I'll try another option but for now I just have a skeleton there and I'll add some weight to it. This is just the first approach so you can be as rough as you want. Just add a little weight to it so you can see and get an idea of how it's going to look if you decide to pursue this direction. Again, try to think of things like where this is way it's going, and should the spacing be arranged later. We can always come back to this with a piece of tracing paper, but for now just get the basic shape in there, and let's see what we think about this letter forms once we're done. You try it and then if it doesn't feel right, you can try something else, this case too wide. So I would probably change this. Let's try again with a little bit more of a slope. Let's say I want to have this angle, and keep it consistent throughout. Quickly look at it and see, this is curving so let's fix that right now, like that. Then maybe the N is a little wide, so let's make it narrower before we begin to draw our squiggly line, in this case I'll use my eraser. Now we'll try to keep the angles consistent, the weight consistent, and then whatever needs to be fixed will be fixed in the refining process. Again, you want to try and keep this stuff as straight as possible, make it look nice but it's a really loose sketch that will give you an idea of is this working or not? I'll try to make things a little more even, but just a little bit, I won't worry too much about it. I know that this has to be rounded, this is again, too wide. I'm liking this a little better. Maybe this is too square at the bottom, I would like it to be a little more rounded of an e, like the w. This we can fix on our other sketch if we go further with this design. Something like that perhaps would be nicer. What else? Let's see. I would like to try something with a curved baseline, something like this maybe. I'm putting in this boxes to give me an idea of what the letters are going to be widthwise. Just an idea, I can definitely go in and make this tighter, but just for spacing and the reference. Let's make this really vertical, make vertical stress and mono-linear. It would be cool if the y is a little bit on the high waisted side so it doesn't go all the way down, and it has that friendly feel. Let's make a really wide o. But if we do this, then I would adjust the N to maybe be less of a triangular shape and maybe more or something like this. These are things that you can adjust on the way that you're going and you're making this tests, and this is why we sketch for, basically, just to try different things out and see what works. Also try to keep this mono-linear all the time, it's getting really thin here, maybe it should be thicker so it matches the rest of the letters. Again, this is something we'll look at in context later. I would cut this off, make this wider, it's really narrow right now compared to this. Just adjust this stuff, like the height of the letters in general. Maybe, let's try one more thing. In one of the references, I really like the Yogi Berra one, but it's a brush script, and it's two baselines, so let's try something like that. I like that it has the feel of brush, so let's try to keep that in there. I'm going to do all caps, so let's see. This one is a little decreasing, so I'm going to try to replicate it down here. Again, this is just the base of the width of the characters. But you can adjust this as it goes through the letters. It's a little heavier than what we did before in general. If you see in the reference, you notice how the terminals or the joints of the letters look like a brush made them. I really like that. I want to try to keep that in the drawing. So instead of having a blunt end here, I'll keep it a little wider and rounder. So it looks like a brush made it. Also just like a little bit of an entry, stroke here, I'm going to keep this here. Again, the bluntness of, but then I'm going to just make it asset was another stroke maybe with a brush. So trying to keep this width, I'll make a bar there, maybe this a little higher. So this is probably too much space and after I finish I would probably fix this. But in general and has a flavor of it. This is a little wide and this is too compared to this N. So just look at those things. Let's go with the rest of it. We have the Y. That's maybe a little more. The O, usually it's two parts because again, you're doing with a brush in theory, so it looks like an oblique shape. I'm just going to draw both of the sides and then fill them in just to have a reference. So they will get thicker and the verticals. Just thinner down here, so it's where it joins. When making this, you can't tell immediately that this is wider. So I'll probably fix that to be a little less later on and just close up the spacing. Just got my rough reference here. So once you have this finished, I would say this needs to be wide or everything here needs to be narrower. So maybe we can adjust the N and the W that feels like are the narrower letters. So what I would do is I would put over tracing paper and just adjust those things. Now that I have this, I'll just make this a little wider. My quick way to do this, if you have your letter forms already, somewhat drawn is to move over the paper. That's feeling much better. So now I'll try to get the same vertical here, looks a little slanted and this E, I think it's important to keep that consistent, as I mentioned before. So it looks really related. Usually I will sketch until I feel that I have enough good stuff that I can pick. Something that I really really like. Sometimes it takes me hours, sometimes it takes me one drawing and it's perfect in the first time. That's not usually the case, but sometimes it happens. But feel free to do as many sketches as you want and whenever you feel that it's right, upload it to the process in the product gallery, get some feedback, and wait for that until we go to the next step. I think that's really important. There we have it, a little better. This is still super open. Maybe we can open this up a tiny bit so it matches a little more what's going on here. I feel like this is getting a little diagonal. Maybe let's fixed that. It's a good starting point. So now that we have our sketches, we're going to select one, enlarge it, refine it, and then we're going to ink it. When I'm going to look in this drawings as what are better, like what's working best for this specific word mark that I'm using. I really like how this is looking, it has a lot of the flavor of the New York retro baseball 5. Also this, I think it's working really nicely. I did some adjustments and made it straight instead of decreasing, and I think it could really work. Also this New York with a little of a curve up and down, it's fun. I think I'm going to focus on the diagonal baseline just because I really think it encompasses the time period that I want to show. So what I'm going to do is pick this drawing and enlarge it in the next lesson. So select your drawing, put it in the progress report, and let's see what everyone has to say before we go to the next stage. 8. Drawing in Layers & Refining Your Sketch: So I'll keep my sketch at hand and start mimicking whatever I've done. It doesn't have to be exact. But depending on the precision of your drawing, you might want to try to make it really close to the original. What I'm going do first is just do a skeleton. So it's just going to be the shapes like we did before. Just almost there, the bounding boxes of each letter. Maybe we keep this a little lower. Then the angle, it's like this. I'm going to try to replicate that. Just keep the widths of what I have in my original drawing. Maybe this can come a little bit lower. The W has to be a little wider because it has those two curves. Then the O is really close to the R. So I'm thinking something like that. Then the K. Now, I would probably just through a let a bit of a skeleton without giving in much of the width, just giving it a base shape. Just to see if it's working in terms of layout, and any adjustments that need to be made are done. I'm going to try to keep everything consistent. If you need to redraw your lines, just do so. We'll go to here. You can draw this out of whatever size feels comfortable. I'm trying to get this. I want to put it on a frame when I finish it, so I'm going try to do it a little larger so it can be somewhere around my space on my desk. Now that we have that, I would take a piece of tracing paper, really rough, but this will help us move into the next stage. I'll keep this around, just move it out of my way because it's so big. Then I'm going to start to try giving this some weight, defining things to make it more consistent. Quickly, I can see that this angle, it's opening. So I'm just going to try to make it as straight as possible. I want to try and do it a little bit heavier than on the first sketch. So I'm just going give it a little bit of weight. On this time, try to focus on the details of how the terminals look, how these diagonals come out of the letter. Just being a little more specific. For example, this diagonal needs to taper a little bit here. It might be too much, so let's give it a little more. I left a little bit of space because I knew this was going to be heavier. When we add the weight, the spacing fields even between the letters. It's important to think about that stuff. This feels a little light, so I'm going to add a little bit to it. Let's do the same with the rest of the letters. Also when you're drawing a script, specifically to this case, it's good to keep in mind that you want to consistently have the branching on the connections of the typeface or of the lettering in the same place. Like, for example, I want this E to connect here. Then whenever my R connects to the K, it should be a similar connection. That will help, but feel consistent. That's the good thing about having these layers, is that you can always adjust things. For example, now I'm running out of space to put the O and I'm just going to move over the paper and look at whatever I'm doing with the rest of the words in this case, and try to match that. This could be like that. I can adjust those things later, and then move this over a bit. Maybe a little slashy thing here. I think this is way too wide, so I'm going to fix that with another piece of tracing paper. Sometimes when you're doing quick, it's really hard to keep that right. So I'm just going over this and looking at the rest of the letters, I think what I had before was better. I'm just going do this and just kept the K in there. Like this. Not as rounded, so it connects more with the rest of the piece. So things that would fix. This diagonal is looking a little heavy. Also, I feel like the N could be less wide. It's a little too wide now. Also, I want to focus on making it more particle to the rest of the letters. Also, I want to try to keep this height a little bit more straight, and I'm just going to draw it really quickly here. Just a little bit of it. So after looking at my sketch, I decided to tweak some of the things like the baseline and where everything is sitting. This is a little low, and the slope of some of the letters wasn't correct, so I fixed that. Also the wideness of the R compared to the rest of the letters and the Y, I wanted to have a bigger bowl. So this is what I end up with. I think with this, now I can go to final inking. I also added a little bit of weight overall, but when I ink, I will fix some of the things, like this is a little thin and things like that. So throughout the process, I'll be looking at my piece and making it better. Don't forget to add your piece to the project class. We can look at it together and decide what's working and when its to be refined before going to the next step. 9. Inking : We're ready to start inking. I'm going to show you this with tracing paper, but you can use Bristol paper if you have a light box. I usually start with microns or rapidographs just because it allows to make an outline of the drawing. In case of some papers they may bleed if you don't do this. I'm going to fill this in with Sharpies so this just for an example, you can do it in a fancy way with acrylics or wash or whatever makes you more comfortable. India ink is really good too. In this case, because I'm just going to keep it for myself and it's nothing than I have to deliver. I'm just going to do it with Sharpies and if I had to scan it in, that would be more than enough. It's a quick way to fill in your drawings and it will do the trick really well. I'm just going to go and trace everything that I did with the Micron and then I'm going to fill it and what the Sharpie so it's going to be a really quick process, but I wanted to make sure that everything looks good overall. I'm just going to try to look at things like the weights of the strokes, make sure if anything is not working exactly how I want it, I can fix that now. Sometimes I'll put a guard sheet underneath my hand if I feel like my hand is going to be sweaty because I'm doing a very large piece and I just don't want the paper to get dirty. If it's a final art that you want to deliver to someone or you want to keep for yourself, you want it to be really clean and nice you can just put a piece of paper underneath your hand, that's a good trick to keep that. I'll just do this outline of the letters. When I put the Sharpies in because it's not archival ink, sometimes depending on the paper it would bleed. I'm just going to do this so it stays within the contours of the shapes that I've drawn, and try to fix little things that I notice as I go. Also once you have a black shape, that it's filled, you'll begin to notice things that might need a little more weight you can add to them at that time. Once I have my outline, I'll just grab a Sharpie. Try to fill this in, in the nicest way I can.I think I could take a bigger one for this. In this case you're going to see the outline from the Micron, but if you were doing this on Bristol paper, it's barely noticeable and perfect for scanning in. Also try to keep consistent in the way that I fill this in, I think it will be easier if I just go vertically. Depends on if we can make like a really straight line, if you feel like it's too much you can do it horizontally and it's fine, it'll just take you a little longer. Sometimes I do like a little inner stroke first, inside the stroke of the Micron so you don't go over the borders. If you do like here, you can take a blade and just scratch it off really lightly. Of course, if you're going to deliver this it's not ideal, but it's a way that you can eliminate a little bit of the mistakes, it works. I just going to go over it again quickly one more time so that it's a little darker. You can either go letter by letter or you can do all of your letters first and then fill them in, whatever works best for you. Once you're done, you're can look at your piece and see if you need to adjust anything else. I think this needs a little bit here. It's going to add some weight, just a tiny bit. For these I pick up my thinnest Micron. That's it, you have a finished piece. Now you can go to scan it or hang it on your wall if you want. 10. Final Thoughts : The last thing I want to say is practice is really important. No one gets better without it. To get good of sketching and drawing, you just have to put some hours into it. Try to do it as much as you can. For me, before I started lettering a lot everyday, I didn't have an excuse, so I created a project and I just started with the hand letter scene. For you, it can be an Instagram account or a Tumblr, whatever it is, just try to put more hours into it and you'll see the results really quickly. I'm looking forward to seeing the results in the gallery. Thank you for watching.