How to Draw and Colour Hair in Procreate - Digital Illustration | Beach Life Studio | Skillshare

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How to Draw and Colour Hair in Procreate - Digital Illustration

teacher avatar Beach Life Studio, Illustration Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (42m)
    • 1. Introduction

      1:09
    • 2. Class Project

      0:49
    • 3. Canvas Set Up and Tools

      2:12
    • 4. Finding References

      3:08
    • 5. Rough Sketch

      3:41
    • 6. Clean Sketch

      6:12
    • 7. Line Art

      5:51
    • 8. Colour

      2:45
    • 9. Shadows

      6:57
    • 10. Highlights

      2:51
    • 11. Final Details

      4:55
    • 12. Bonus: Time Lapse

      1:51
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About This Class

In this class I will teach you how to draw and paint girls hair using Procreate on the iPad. Suitable for beginners and intermediates.

This is how I approach drawing hair so use this as your guide to help you learn new drawing skills and using the Procreate app. Feel free to be as creative as you like by changing up the hairstyle, colours or profile angle.

Here is the link to my Pinterest board for Hair inspo: https://pin.it/2Quj4HM

Download the template and reference photo if you would like to follow along or create your own character with your own references.

c94067eb.jpg

Meet Your Teacher

Teacher Profile Image

Beach Life Studio

Illustration Artist

Teacher

Hi, I'm Carly!

The creator and owner of Beach Life Studio. I’m a British girl living in Australia, an artist and small business owner! You can find me drawing on the iPad or drinking my iced coffee. I enjoy sunny days filled with positive vibes.

I love creating uplifting designs to empower and inspire you to create your dream life! It’s never too late to start!

My journey started by sharing my art and creative process online. About one year in and I had slowly built up a freelance business, working with clients to illustrate their Children's book projects, portraits, logos and opening up my Etsy shop on the side.

Fast forward to the start of 2022, I have now created my own online store. Running it indepen... See full profile

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Transcripts

1. Introduction: Hi everyone. Welcome back to another Skillshare class. My name is Carly and I'm a UK artists living in Australia. I run my own illustration business under Visual Studio and probably mostly known for drawing key ago characters on procreate. So I do get o questions are asking how I draw hair, and drawing hair is one of my most favorite things to do. So today's class is going to be sharing my full process on drawing hair, gelled hair in particular. So I mostly draw on the app called Procreate, which is on the iPad, but you can follow along with any other Juren apps or a traditional medium as well. I will be sharing tips and things along with the outflow as I go. So if you do have Procreate, then this class is definitely feet. So I will be sharing my step-by-step process and finding the reference pictures sketch in doing the liner and the full color process from shadows, highlights, and final details. So hope you're excited to get started and don't forget to follow me here on Skillshare so that every time I post a new class you will get 95. Anyway, let's jump into the first lesson. I'll see you there. 2. Class Project: In the class resources below, you will find a download or you can use this template and follow along this class by drawing your own hair as we go through step-by-step, you can use this to print out or you can open it straight up into procreate. If you open it into Procreate or used as a layer underneath this one. And then you want to set this template layer to multiply, which is just at the top of the list here. So when you go to the layer underneath and draw, you'll be able to see the sketch comfort so you can draw everything you want to underneath that layer as long as that or multiply. So already hyphae follow along and enjoy this class and you can repost your drawings in the project section below afterwards as well. So let's get started with the first clause. So I'll see you there. 3. Canvas Set Up and Tools: In this lesson, I'm just going to share with you the tools that I'm using for this class. So I've got the iPad Pro. This is the 12.9th inch, and I'm using the iPad pencil, which is a second-generation. And this is used with the iPad Pro. And the app that I'm going to use for Jordan is called Procreate. And you can download and download that on the iPads. So you can follow along this class on paper by I am going to share techniques as I go. But I'm sure you can still learn some things if you don't have the app or you have a different jury not maybe it could still work VA. So I'm just going to open up Procreate. I'm going to click on the plus icon at the top right-hand corner. I've actually got a lot of already made canvases in the list here, which I've named quite a few. I'm just going to click on this, the simple square one. If you go into the little wrench icon and then go down to Canvas information which is under canvas here. And you can actually refer back. So the size that your canvas is set up. Some of my favorite brushes that we're going to be using today. The dry ink brush. I really love this. This brush can be used for a lot of different things and it has a really nice texture. So you can find that under inking in Procreate, just Hey, I like using the Dry Ink brush the mice when it comes to liner. And the studio pen is also a really nice one if you want a smoother effect. This one is sine ice as well. So I do love that for a bit of line art. And for sketching. I actually had downloaded a brush myself. It's cool tours I will sketch brush. And when it comes to sketch, and I love housemaid, this is, and it's got a little bit of texture as well. But another brush I love for sketching, which is already in Procreate. It's under sketching and it's called the 6 B pencil. That one's a little bit more, has a little bit more texture to it. But it's also a pretty smooth and I really love sketching. 4. Finding References: I always go to Pinterest for some reference pictures. I actually do have a folder that I have saved a lot of pitches over the past in Jane on Pinterest. So only the link below this class, if you're interested in finding inspiration, may be that you can use. But Pinterest is amazing when it comes to finding references or just inspiration to draw something like a seals as popped up. I've already gotten quite a few pictures already inspired me a lot. And I really like this hair and this one here. And when you click on things on Pinterest economy and remembers what you have liked and then it will bring up similar things. So every time you go into Pinterest, it will always bring up something else that's related to something you've searched before or clicks on. And another thing is when you click on advice, hey, you might already know this, but I'll just mentioned anyway, if he clicks. So once you've clicked on to the photo and you scroll, it will bring up even more underneath that. So you could be on Pinterest scrolling for ages like idea cobia and you have to just quickly get off it because it's such a waste of time. But if I save something, I'll click it. Save. And then I've got my bunch of lists, which I'll just save it into a board. And then it's there for me to refer back to when I go to my saved photos. So I'm going to type in straight hair styles to see what comes up. Like I really, really love the scales, heads, so prey and loan. But just check if there's a better image of a Am I might Eiffel. This one is a little bit more front-facing face, very sleep alone. Okay. I've actually decided on Mike if this one is a little bit more on the simple side, right? So instead of saving it to a folder, I'm actually just going to go straight to this little free dotted line just here. Click it, and then download image. And then I'm going to bring up Procreate and tap on the wrench tool, and then click on reference to bring up this box which you can actually move around and click on Image, Import Image. And now this is now April 1st to meet around. And we can draw behind it. So it's actually not on a layer, it's on a little separate books to any layers. So you can actually move it to the side. Which is really good because then when you want to draw close up on the canvas, you can, I'm using two fingers to pinch and zoom right in so that when you work really closely, you can still see the reference picture in full and draw at the same time. Okay, so let's move on to the next class. Now we're going to start sketching phase. 5. Rough Sketch: So I've got my little reference books and if I tap on the picture, I will just take away the edges. And I can also say resize it by dragging outwards. And if I pinch your fingers on the photo itself, I can actually zoom in and out. So it's a very handy tool to have all of this. And I've already drawn out the face, just so you don't have to Sit free that if you do want to learn on how to draw female faces, I do have a video on Scotia going for the front view, side view and F3. Cool. Va said we want to check that out, you can. And, um, yeah, so go on a layer above that. I've had that, this layer as my base sketch. And then I did a new layer on top for this form where I added in more of the details. So I just keep that layered on ticked because we don't need that. And then if I add a new layer on top and I'm just using the tours I would sketch brush like Hey site, when I go to draw hair, usually I divide the forehead into like free sections. There'll be like one section 23. So the hip hot and would stop about here. But it does depend, I guess, on the position of the head. But this is a very simple front-facing side, as you can see on here, you've got one section, two section, and then free for the eyebrows, stop it. That makes sense. And STI is to start when you draw hair, It's good to look at the shape of hair and don't get caught up in all the details and all the lines and everything like that. So I'm going to look at where the polonaise at, which goes straight up like in line with her eyes. So that's going to be here. So looking at this picture, you can see these big shapes, that kind of just two big shapes, very similar on both sides of our head. And then these from bits, I would say, would come into another shape of their own. And that's kind of it. There's not a lot to this hair is very simple, so I'm going to draw that in. So this is just going to be the basic shapes. So I'm going to take the hair rounds and it comes down like this. Now the main backup to the side of her neck and face and then just hitting the edge of her eye, an eyebrow. And then backup. It doesn't have to be palpated, literally just leaking and get him the shapes down. And the more you study, reference pictures and draw hair. And things will get so much easier. You just have to keep practicing. This one goes over her ILO bit, so I'm going to bring that in just a little bit more. Um, night the hammer if we actually go a little bit longer. So let me just drag these up. And so then the front bits of hair that are coming here. I can do this in a different color. Say Come down and this becomes out, in and then up. So it's like a curve. And then it couldn't joins back in again and up like that. And then this side is a little bit more simple. There's not much to it on. It's going to use the strands that are fooling forward, that kind of standing out to kind of use as like the shape. And this one is kind of doing that. So I'm just going to just bring it back off, something like that. So it's very, very simple. 6. Clean Sketch: Okay, so now we're going to refine the sketch. I'm going to make a new layer on top of that. And again, I bring the layer beneath it and I'm going to bring the opacity down to around 23 percent. Thus onesie, you can just throw out still see it, but it is very light so that we can draw straight over in our Vout, get into co-op with the under, with the lines are there underneath. So we can see what we're doing now on top on a new layer. So I want a guide to draw how I always start with the front pieces of hair for us usually, but I guess that's just a preference, bringing the line up little bit and then falls back down. This really strong kind of piece of hair that falls down here. That's what I'm following right now. And I've already got my base guide as well to help me. I'm loving kind of where I'm going with that line. And then now I'm going to stop in a little bit more detail. So I'm going to, I can see now that there's a few hair strands sort of standard out to me on the ion. So I'm just going to add a few of them in z. I'm going to leave that just like that. And I'm going to come to the other side and just stay the same. And so I bring in a little bit of hair, right? Either it's going to bring the opacity down a little bit, right? So I think that's pretty much it for the top part of hair. I'm going to make the purple calm down a little bit dark canal. Just say that he might be either see the difference low it better as I'm doing it. Okay, so where the edge of the head is, I'm going to stop with the politician at the back now. And I'm gonna make sure that that line is a little bit higher, just a little bit then the head, because it is fooling flower head. She hasn't got like any huge movement. So I'm going to keep it fairly close to the head, but I always just give it that little lift. You're going to bring that out. Kinda fools just behind that Paul is coming out. And then also with straight hair. It's boys like so much better when it has a bit of a curve to it. So even I, her hair is straight. You can see it's got these nice curves and levels of like Vivian movement to it type of him. So it has a very subtle movement to it. And it looks so much better when you draw hair like that. If it's straight, you always want to give it a little bit of curve. Anyway. To do the ends of the hair, I usually just do lots of little lines that connect them into small clumps. So you've got like one part here which is like a clump together and then this part will show us I shapes no clumps and other like shape here, which ends in just here, and then another cell shape that comes there and then the underneath there, united. See you always want to try and use the hair as shapes instead of single. Has hair strands. I think just the, the way that you draw with the flow and using these kind of smooth, long but quick lines together just really help the flow of the hair like quick lines. You want to make sure that loose and long enough light going together like this, If you know. I mean. Okay. So just following that underneath face shape, I'm just using a short little curvature colored lines just to help bring it together. And then again, I'm not taking up dead straight like a really straight line. I'm going to give it that little bit of a curve up and then around the head just following it. I went a bit funny. And then I'm just going to add in a couple of extra strands of lines, she'll say like in the middle, just to help break up the the really big areas where there's nothing there. Nothing. Wanna do those lines there as well. I Ph.D. do them with one kind of curve. And then enough one saw in EVA in the middle of the top and it kind of joins. It kind of gives them that look of the hair kind of overlapping slightly. So those are the kind of lines of how I would just add them to the middle. Say if I just turn off underneath layers, whoops. That's how the helix its own. So you can always just go to the wrench tool afterwards. And then by Flip Canvas Horizontally. This always helps withdrawal runs because you can always see Evan any mistakes that look a little bit off as soon as you flip it, the eye can see it in a different ways. Very strange, but I've done it so many times and always do this at the sketch stage before you start finalizing it because you can start tweaking and changing things at this stage now before you put all the effort into finalizing the lines or the colors. So yeah, you can always just turn that background once you're done. 7. Line Art: So now we're gonna go and do some line or above this refined sketch layout. So I'm gonna make a new layer on top of the refined sketch. And then I'm going to be using the dry ink brush, which you can find under inking. So it's just Hey, so it's within procreate or at AICPA is one of my favorite brushes. So I have it saved in my favorites list. And just a quick tip when you Jay Comte finalizing it with line I Alcala do make sure that the sketch is as big on the canvas as you actually want it, because that's actually been times in the POS wax donald, a color realized that my sketch was very tiny on the Canvas page. But once it's already call it and you try and resize it larger, it can really pick, select the image. And I always recommend using a larger canvas. The larger you go the better because you can always resize it down. But here, if I try and upscale an image, it can always go really pixelated. And you just want to make sure it's at the best quality that you can get it. And also make sure it's always at a high DPI, which is dots per inch server come back to Canvas and Canvas information. Just on this bit dimensions, you can see it's at 300 DPI, which is a pretty standard good DPI to have. You'll draw enzyme I would recommend. So I'm just going to rename this layer. So you click on it, it'll bring up that list and you can rename it. I like to keep on top of rename my layers so I can keep organized. Especially when you start to get a lot of layers. It just helps down the line so much more. Okay, so I'm gonna go in now and do the line off. The sketch underneath is pretty much exactly where I want the lines to full anyway. So I just have to pretty much just draw over the top. Right. So I'm going to untick that underneath layer just to check on how it's looking. So I'm now just going to add in a couple of little strands, which is how I like to do just like little flicks here and there. Just to give it some more kind of movement. It's going to double up couple of these lines of the poem here, just to give it that kind of overlapping layer of larger chunks and smaller chunks. Ok, and it's take it to the next level of line ought to make it really pop and stand out. You can go in on the same layer, but I would probably make a new layer above a and then combine the two you once you're happy, because if you do a mistake, it's just easier to have it on a separate layer so you can just rub it out. I'm not on them interfere with the underneath. But this is basically why you're going to add unlike thicker lines now. And I'm just going to look at what hair strands are fallen in front of the other ones. So for example, this one here coming down, this one is full in, in front of this hair strand here. So this both head is on top and we wanted that to stand out. So I'm going to fly this line. I gave up and make it slightly thicker. And the same here as it comes over this line. You want to stop thin and then press harder and then lift up your brush from the canvas again, say it has that really nice sharp edge line at the ends. That helps it just blend in with the strand that's underneath. So I hope this makes sense. I'm just gonna do that here as well. You don't need to make them too thick of what's just just a little bit just so it's a little bit darker. And it just, if you can tell how you can see which bits are really fooling in front and which bits are behind. Now, I say this part is coming over this line here, so okay, that's pretty much it. So you can tell the difference there. Like it just allows you to really see which parts of the hair coming forward and which parts are more behind the head. So if you're happy with that, you can combine the two layers by using my fingers here and just bringing them together like that. And then that combined into one layer and save a ton of the face sketch. That's what the Harris I can like when it's AI right now. 8. Colour: So now we're gonna do the flat colors of the hair. So I'm going to make a new layer underneath the line. And it's going to call it flat colors. And I'm going to take the lineup capacity right down to about 30 percent. So I'm going to use the shell brush, which is under calligraphy. It's one of my favorite brushes as well. It's got really nice texture to it. Just going to start coloring in the hair. So as we come to the edge here, because we lower the opacity of the lines above, we can see the edge as we are coloring in. So we make sure that we get it as neat as we can. When you color with a textured brush, It's always good to color in the flow of the hair, like the way the hair is fooling. You want to make your brush in that way as well. Me. Hi. 9. Shadows: So now let's add some shadows. I'm going to make a new layer above the flat colors. And I'm going to click on this little n here. And at the top of the list we've got multiply. So I'm going to take the go-to classic here and I'm going to take the color down a little bit darker and the shadows. So I'm going to click on our shadows layer once and then on this list here I'm going to choose clipping mask and say Now this little arrow here means this layer is now attached to the liability on the flat colors so that when we draw on this shadows layer, no colleague will go outside of the hair, which makes it a lot easier to apply the shadow. So I'm going to use the dry ink brush, which is under inking. I kind of swap my brushes out to however I feel when I apply shadows, I don't always use the dry ink brush, but that is one of my favorites and it can be used for things like the dry. If you're going to use one brush or relay, then on definitely choose the dry ink brush because it is pretty good for a lot of things. Soda apply shadows. I'm just going to, first of all look at the illustration and see which parts of their head towards the back and underneath a lot of hair. So always at the very top of the hair as it lifts up, you always going to have this dark bits because I've brought against the head. And also I just around the neck area is always going to be the dog. Was Paul SMS going to fill it up in fast? I always do a little line just above the middle of the Potsdam because again, it's just the growth of your hair, sorry. It's always going to be a tab darker side to get shadows, right? It's always good to learn from reference photos. So you could always bring the reference photo back in and have a look and see how the shadows are falling on there. To give you some sort of AI days can take quite a while to really get used to shut eyes. It's something that I'm not the best stuff myself still. And I usually keep my shadow is pretty simple. So don't overthink them too much. I always just look at which parts of the hair are overlapping and then draw like little lines just to help separate the hair from each other and help bring main parts forward. So it just gives it more dimension. And I'm always starting off with ease in my brush pretty lightly and then pressing down slightly to make the line flicker. Okay, so once I'm happy with the eyes, shut eyes, I'll go back to the layer and then I'm going to take the opacity down just to wherever you kinda like it depending on how dark you want. Guys are probably leave about 25 percent for now. And then I'm going to make a new layer above that. And I'm going to watch, I'm going to take this layer underneath. And that's going to automatically attached to the hair again so that the clipping mask is already on. And I'm going to call this deep shut eyes. So now I might just bring this down a little bit darker again. And then I set it to multiply. Still using the dry ink brush, I'm now going to go in and put a few deeper shadows to really help intensify like everything. So we've got our main comp shut eyes, but these shadows are going to be more than ones that are going to be at the darkest of the hair, dark as part of the head. So that's always going to be underneath the neck. And I would always put it just at the very tops here as well. Sorry, this isn't really necessary, but it's just up to you. And if you want to really help the hair stand out more as really gets at another snapshot. I is just a really help it pulp. Well, I think that's probably about it. I want to go too much. Sometimes at the end of the drawing you might want to add them more any feel like it. So I'm going to take the capacity down of that. So about 28. And novel option for shadows is create another layer underneath. So now it's automatically put on the clipping mask again. And I'm just going to call this soft shadow guys. Whoops. So I'm going to use the soft airbrush for there so you can find that under airbrushing. It's just at the top. Soft brush, I may not soft airbrush. Just going to make that quite large. And then when you apply, when I apply this off shadows, I think about where the light is going to come from. Say by, say the light is coming from up here. That means the light is going to behave in on this side of the head. So I'm going to use a soft brush to gradually apply a bit of shadow, making it a little bit darker just up right at the bottom. I forgot to set that to multiply. And I'm going to take the opacity down. Let me just delete that layer now. So yeah, that's pretty much it. You don't have to do all of those options for shadows. Sometimes I only do one shot eyes layer. Sometimes I'll go in and put more shadows. But yeah, it's just up to you anyway. So now we're gonna move on to the next lesson and we're going to go through the highlights. 10. Highlights: Sorry, I'm going to make a new layer above and I'm just going to name it highlights. And I usually set this to overlay. Sometimes you can play around as a few of the lighting options here, which do that quite nice. Sometimes I'll change it afterwards, but I tend to start with overlay. So I'm going to take kind of yellow color and then bring it right up to the very top. So it's a very pale yellow to make sure we don't go out the lines. But something I get mixed up with more of these. Here. I'm going to click on the flat layers and then click Select. And I'm going to untick fill color because That's going to fill in the color of the hair. Don't want that. So now that's all. Just going to go back to the highlights layer. Click on the brushes, and I'm going to use the soft brush for this. And say the light was coming from up here. It's just the same way as we did, the soft shadows. So there's going to be quite a bit of lie. And it's going to do a tiny bit of bounce light around the sides of a head there as well. So kind of like that. And I'm going to take the capacity down to about 25. I'm going to make a new layer on top. And I'm just going to call this lights. So I'm just going to add in some more highlight. Now, I'm going to use the dry ink brush for this, gonna make it a little bit bigger. And then I'm just going to sum basically making a squiggle type of movement with my brush. But as I do my condo up and then bring it back down to make these blowups type of thing if that makes sense. So that's kind of how I apply it. Just kind of a bit random just to give it a little bit of shine on the hair. And then I'll bring the opacity down. And we forgot to change it. So these are all the options of light. As you can see. As you can see, overlay just ends up being quite nice, gives a nice shine. Might just gave a couple of light bits rather the edge of the head where the hidden. That's pretty much it. That's all I'm going to really do for the lights right now. 11. Final Details: So the last thing I do, I will make a new layer above this. And I'm going to call this hair strands. So I'm going to add in some final details now I'm just really bring the head together. So if you use your finger and hold it down onto the color that will select the hair color. So I'm going to use the under sketch in. I'm going to use the peppermint brush. I've got another one here because I tried to edit a different version myself before sight, going to use the original peppermint brush. So easy to follow the head that's kind of go fly to it and maybe coming out little bit and I'll just go along that line and then bring it back in just to give it some kind of movement and unknown, I just really like adding just an extra hair strand against some have, which just makes it look a little bit more natural. I'm pretty much just looking at whether some big gaps and just kind of add in some extra head, which is probably one of my favorite parts actually. Okay. So I'm going to keep it quite simple what I'm going to go. I avoided too many strands, and then I'm going to click on to the color palette. Bring this up a little bit lighter. And I'm going to make a new layer above that. And using the same brush I'm now going to add in. Might make this a little bit light, so organics. So I'm just gonna add these half-strands kind of where the light would be hitting. I feel like it really helps separate the hair out and makes it look so pretty much just some light has chance at the end. All right, So that'll be, that'll be it for that. And so it will my set. You can actually just keep the line art as it is. If you like the dog collar, you could bring it right back up to black or you can take the opacity down, so it's really light gray. I'm not just going to show you another way I like to change the line or at the end. So I'm just going to select the hair color. And then I'm going to take it down a little bit darker. And I'm going to click on the line art layer and press Select. And then going on to my brushes, I'm going to go into airbrushing. Hot air brush. I'm just going to color in the lines vice ugly. So now the color of the lines will just blend a lot better with the hair and it looks so much more, not true and softer. That's why the airbrush I feel like is perfect for this because it doesn't miss any parts of the color out because it's not go any texture is pretty flat. Eeg data is Paul wave. And you can make it darker if you want. I mean, can't really see the lines too much with that one. And then if you want, you can have this layer selected. If you go to this little wand icon up here, you can go to curves layer and you can play around with the lines and the time. So you can even do this before going any further with any color and why even just like, okay, just to start with this can make it more red. Give him a bit for red tide. And she will say go Color Balance and he saturation, etc. You can play around with that as well. You can always go back to the flat colors if you like, and also change the curves. Change the color. Afterwards, if you decide you want to change the tone of the hair color or anything, it's really good to play around. Sometimes you might start with a color and then realize it looks better once you play around with the colors, hey, you might like something different. 12. Bonus: Time Lapse: Thank you so much for taking this class today. I really hope you've enjoyed watching it and that you've learned something new. Let me know what you think and the feedback below. And don't forget to post your Dorians from this class in the project section. I would really love to check them out if you've followed along for now, I'm just going to leave as time-lapse run NC, you can see the process again. And I hope you join me here against my next class. Thanks so much. Bye. Let's see. This is a seasonal business.