Making Your Mark: Building An Original Sports Wordmark From Scratch | Matt Madsen | Skillshare

Making Your Mark: Building An Original Sports Wordmark From Scratch

Matt Madsen, Graphic Designer

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6 Lessons (48m)
    • 1. Welcome Aboard!

      1:34
    • 2. Research

      6:58
    • 3. Sketching

      12:40
    • 4. Illustration

      13:27
    • 5. Color & Integration

      13:14
    • 6. Your Turn!

      0:32

About This Class

Make a strong (and original) sports wordmark! In this class, you'll learn a process for taking your ideas from the sketchbook to a finished design in Illustrator. Work with letters and shapes to craft a wordmark that supports any sports branding package, and add dynamic elements to make it pop. If you're looking for a fresh way to make your mark -- whether you're an illustrator, graphic artist, or just someone interested in learning a new process -- this is the class for you.

Transcripts

1. Welcome Aboard!: My name is Matt Madsen. I'm a graphic designer living and working in Denver, and today we're going to be hammering out our very own sports word Mark. Now I've prepared myself by doing sports designed just for fun. I do it because I enjoy it. Not everything you do has to be done for paycheck. You can design for the love of bizarre. So in this class, we're going to be following a few basic steps. The first step is we're going to be doing a little bit of research and get a little bit of inspiration. And then we are going to get in the sketchbook, really investigate some direction, and then we're going to take that finalize sketch, pull it into illustrator and make it live in the digital space. And then we're gonna go through some refinement, investigate some effects and color options, and we're also going to be integrating a primary logo if you have now as a disclaimer, there are a 1,000,000 different ways that somebody can design sports designed. It's such a personal thing. I really don't think there is one tried and true way to accomplish something. What works for me in my process isn't gonna work for everybody. And that's fine because these differences are what is going to make our marks stand out and be original. So let's have some fun trying to take itself too seriously and thank you for signing up for the class and without any further ado, let's go ahead and get started. 2. Research: Okay, so now that we're in the captain's seat, we're going to start off by doing a little bit of research. Now, whenever you're starting a design project of any kind, whether it's a logo or something else, it was a good idea to start off with a little bit of research. Um, it's probably the least glamorous aspect of the whole process, but it's one of the if not the most necessary, because you obviously want to know. Um, learn whatever you can about what it is you're designing. So this way you don't have to be intimidated when your friend comes up to you and asks for something super technical, um, related to many I don't know, biomechanical engineering or something like that. You don't have to be intimidated when they ask you that because, uh, you're going to have done your research and know little bit about the subject and let your creative mind go from there. Um, not doing your research is kind of like, uh, it's kind of like getting on an airplane with a pilot who, you know, hasn't checked a weather report. Um, I wouldn't do that, probably. And I doubt you'd want to do that, either. Um, it's just kind of stupid. Makes no sense. So don't fly blind and do your research. And, as you can see, have the Interwebs fired up and I'm going to run a search for sports word Mark. And look at all this stuff that comes up here my first impression just by looking at this screen in the short few seconds that I've seen this screen, everything is pretty bold, and it's also pretty simple. Now when I say simple, that doesn't mean that the process that it took to make these things is simple. Um, don't make the mistake of thinking that this is easy. Are um yeah, don't make mistake, that thinking that this is a simple process just because these look the way they do a lot of work and a lot of time has been put into these marks to, uh, make them look the way they do. Take this Dodger's word markets bold, simple, and it makes a statement. It's been a while. It's been around for a while, actually did my research on this mark and ah, it goes back to 1938 when the team was still in Brooklyn, the Brooklyn Dodgers. Uh, when we do our math, that's 77 years of the same word, Mark. And that's a pretty timeless example, uh, of something that the wonder it's easily identifiable, right, because it's been around forever. Um, same thing with this. Ah, New York Rangers word Mark. It's not super flashy, but this look has really galvanized that whole brand. And there's a reason this stuff has hung around for decades, right? So, um, since my project is a passion project and I'm doing it for fun, the team I'm branding can be anything I wanted to be. So if you're doing the word mark for an existing team, then you have to stick to that. But for me, the team name I have come up with is the river otters, and to me, that sounds like it could easily be a hockey team or minor league baseball team or something like that. I'm gonna go ahead and say it's a baseball team, since I'm more of a baseball guy. And since I'm from Colorado, I'll just call it the Rocky Mountain River Otters because it's catchy enough. So, uh, keeping that in mind that it's a baseball team. I'm gonna open up a folder. That is I like to call mine inspiration in Colliers, whatever you want. But, um, this is just for me to, um, kind of build ah, holder or library of reference material. As I'm going through this process, I'm gonna grab stuff that just kind of catches my eye. And ah, I might even like just maybe one thing one or two things about these Ah, these marks. But I could maybe taken idea. That kind of gets fired up in my brain or in my mind, about any one of these things. Like this Daytona Cubs logo. I really like this little hinting of the for on the word mark. It's pretty simple, and it's pretty well put together and designed, but it still has pretty illustrative and, uh, leads my eye. So I really like that idea. That something I could integrate into my river otters logo so well done right there. Um, this arc look is a pretty classic baseball. Look, this is very, very simple. Um, but that doesn't mean that's bad. In fact, I'm gonna take my search, take it one step further and pull up baseball word Mark. And so there is kind of a theme of the Ark. And, um, so here there's there are these kind of cool looking, spur like elements on here. That's why I like that. That's very classic baseball, that's that's Americana. You know, that's fireworks in apple pie. So, uh, again, the Daytona Cubs loaded here, um, this kind of rising script logo with the swash underneath, just like the Dodgers logo. That's also very baseball ish. So what I'm doing is I'm finding marks that I think could work for my direction. Um, not all of them will not over. We're gonna catch my eye, and that's fine. Um, but I'm just building a bank of reference for me when I'm going through this process. Now, once I've built out my inspiration folder and I've found some ideas and I'm pretty comfortable about going, um, to the next step. The next step, actually is to jump in the sketchbook and see really examine the possibilities that we have with our word mark. So that's the next step 3. Sketching: Okay, The next thing we're going to do in this process is talk about a bit of sketching. Um, as you can see, I've pulled up my sketches here. My original plan was for you guys to actually watch me sketch and go through my process that way. But it would have been quite awkward, because sketching has a tendency to take up a bit of time. Um, didn't want to waste a bunch time having you guys just watch me draw. And this way you can actually see a lot better. Um, what I'm trying to convey rather than hoping that you guys picked up on it when I was drawing, So this is a better display. So, um, sketching is I think, uh, very it's a very important part of the process. Um, because I don't think I've ever met a designer who tackles ah, logo design or anything like that without getting in the sketchbook and getting ideas out. Um, I don't if there's a designer out there who can taken, idea and jump straight and illustrator and go, um, more power to you. I am definitely not one of those guys. Um, I need the time in the sketchbook to, ah, kind of just work my ideas out, get him out on paper, Get him out of my mind and on to the paper Because, um, I'm more expressive in the sketchbook as opposed to an illustrator. Initially, Um, I'm a big believer in the sketchbook for a couple of reasons. A like I touched on earlier. It's really expressive. Um, I'm not really limited in making a curve look exactly the way I want or anything like that in Illustrator. I couldn't just let my artistic, um, kind of my artistic ideas go in the sketchbook. And if I mess up like an eraser to move on to another thumbnail or something like that, Um, also, secondly, I don't want to be a slave to the software or the computer. Um, I want to maintain art in my designs, and, um, kind of being married to the software getting stuck in that world initially without your ducks in a row, in my experience personally, hasn't, um, worked out to o. I usually get stuck, and it's just a nightmare. So, um, it's a good idea. No matter. Ah, no matter what your thinking with your idea. Ah, for your word, Mark. It's always a good idea to jump into the sketchbook and at least investigate your options. So that having been said, I'm going to jump in. As I said earlier, my team name that I've chosen is the river otters. Excuse my chicken scratches. Um, the first thing I like to do when I'm dealing with letters, words or anything like that is count characters. Space is included. If there are spaces and see end end what I have to work with. So river otters with the space included here is 12 characters. Now, that helps me establish my center. So, um, that helps with alignment and balance. Um, naturally, the center, the middle point of this mark from an end would be in between the space and the O of otters . So that kind of helps me as I sketch things out. My next, um, kind of examples here are I just like to write the right the word out. Um, here I have the capital are river, Uh, just kind of standard. Written out. All spit it out in cursive because cursive was kind of Ah, that script e idea was kind of cool, referring back to our research. That was kind of a neat direction. Small caps. That's another one, Um, here knowing that, um, if I took the knowing where my midpoint Waas if I took the space out and used small caps that would save me a character, break it down to 11 characters. And that means that this oh, would then be my midpoint because they're five characters on the right side of the and there are five characters on the left side of the oh, so that's a natural midpoint, So that could be that could develop into some pretty cool ideas there. So as you're sketching, don't try to judge yourself too much. Um, if you're drawing or sketching out an idea and you immediately know in your head that it's stupid, go ahead and move on to another thumbnail sketch knowns, knowns grating, you knowns judging you. Um, just the point of being in the sketchbook is to be expressive. So go ahead and embrace that, um, here. I've started with the small cap idea because I thought that was pretty cool pulling the, uh, space out so you can see how the O kind of lands in the middle. That was one, um, and then here I took it a step further. And it's not the prettiest sketch by any means. So, um, but that arc idea, Um, I thought that could work pretty well with the, um just the name on the ark. I could think I could envision a ah, tall, skinny type face, Um, kind of on a lark and maybe adding some of these elements, like these little spur things. Um, those are pretty cool. This is pretty classic baseball. Look, of course, jumping an illustrator, it would be more refined and things like that. But, um, this piece, this little sketches pretty balanced. It's not perfect. Not as balanced as it would be if I were to pull it in, Illustrator. But, um, it's got good balance. I have three kind of big caps to kind of hammer home the boldness of the idea. So the are and oh, and s or a bowl. The other ones are small caps. And there are four small caps between the Arno and four small caps between own s. So that's naturally a good balance. Another option investigated was the script. Um I started with just going across straight as if I were to just be writing in cursive. And I'm not I'm not a big handwriting guy or anything like that, but, um, I just thought this could be a neat idea, having them right next to each other and just kind of seeing how these characters interact with one another. You see, this are could I kind of dipped it down because that's just kind of the way my hand took it . And, um, this these teas getting crossed right here. It just seemed kind of natural for the cross bars of Bettis to just kind of go across all the way. So, um, normally my sketchbook might have a 1,000,000 different options in it. But when I was sketching, I wanted to hammer down these basic ideas just so you can get an idea of, um, my thought process and going through this. Then I took it one step further and really went baseball ish. So I wanted, I thought would be cool to kind of stack it to kind of make it more compact and bold if that would enhance the boldness, Of course. So when I was stacking it. Course, I kind of did the rising, um, script here and, um, kind of dip this down and turned this little swoop in the are that I was talking about earlier and kind of turned that into the O and then oh, kind of naturally swung out here and cross thes tease right here. So, um, that was that was kind of cool and just kind of sketched out and let my imagination go on. Um course added the swash underneath the classic baseball idea. But in looking at something when you're developing your ideas again, keeping in mind your context When I was sketching out this are and it dipped down into this Oh, um, the immediate idea that I thought was this could be, like, perfect for, say, a baseball cap. You know how a lot of the trend is to have these interlocking characters, um, on the baseball cap, So of course it wouldn't go all the way across, but, um, that could be the start of something kind of cool, you know, collateral wise or alternate Mark wise. So, um, that's kind of how this whole thing evolved in my mind. I'll jump to this next one, and you can see, actually, I will go back. So this is what I kind of like to call a skeleton sketch where it's not super fancy. Um, it doesn't have any weight to it. It just kind of has the general flow here. I've kind of beefed it up a bit, and so I just kind of expanded on the skeleton, put a little weight on it, and, um, kind of, you know, just expanded on that idea. And you can kind of see how these can kind of start to fit together pretty well here with this e kind of tucked in underneath this cross bar here, um, this I can kind of not totally, but kind of mirrors this a little swooping are down here. So I just kind of took my idea and expanded on it. And then, um, after I'm get my word mark expansion to a point where I'm happy with it, and I wanna take it in illustrator and kind of mess with it a bit. Then I take just your basic fine point Sharpie, which is every designer's best friend and went over the top of it. And this is, um, just so Aiken really see it easier when I pull it in. The illustrator, um, I'll just trace over my marks and make little tweaks. Um, depending on how tight I wanted my sketch to be and just erase all the pencil marks and then scan it in. So, um, this is the part that I want to taken illustrator and kind of expand upon. So once you get your sketch to the point where it's time to jump in, Illustrator, go ahead and scan it into the machine, and then we'll pull it in if you don't have a scanner. Uh, the camera on your iPhone works, Justus. Well, just make sure you're not standing in the light and casting a shadow over it. Make sure you have a nice, clean shot. And then, um, we're gonna take this in the illustrator and expand on it 4. Illustration: So we have our sketch scanned into illustrator, and now we're going to, um, make it live here. Now you can. There's a temptation to use the life trace tool. Um, but honestly, uh, working with the pen tool, just it nothing else compares to working with pen tool. And, um, by sharpening up your pen tool skills, you're just gonna be that much better the more you go. So and plus champions, use the pen tool. So be a champ, not a chump. And, uh, use the pen tal. So but I like to do here is I usually pull the opacity down to about 50 or something, and then I lock the selection. I can either lock it or put it on its own layer. Makes no difference. So I'm just gonna walk it and put it on, put it on its own layer. So I'm gonna call this layer sketch, make new my ear, and I'm going to trace over this, and I usually like to pick a bright green color. Don't know why. Um, probably just because it's a lot easier to see them black on something like this. So I have selected my neon green kind of color and shift X will give me my stroke p for the pen tool. I'm gonna use, um, circle curves because this is more of ah, flowy mark. So, um, I wanted toe look as flowing as possible, so certain curves help maintain that. So that's to, um, handles or tangents, whatever. Whatever you call them, that's what they are. And the longer my handle, the more drastic my curve will be. So you can see here. I'm gonna dip this down, actually, redo what I just did. Dip this down and the handles out here and go over to the top and pull that out. Now, this one is longer than this one. That means this is gonna curve around a bit more and see how that just pops right out like that. So keep that in mind as you go, uh, through in you're going tracing over your sketch that that's just kind of how the pin tool reacts and works. And it's taken me a long time to kind of understand that by no means am I an expert on the pin tool, but I have used it quite a bit. So, um, that helps just using it helps you familiarize yourself with it better. And, um, how it reacts. So now comes the kind of boring part it could get. Kind of boring, just kind of tracing. But as I trace kind of Watch me, um, go over my marks and keep it in mind. My spacing, um, like trouble area, for instance, could be here where? That's super close. So I'm probably gonna do something toe separate those a bit and let him breathe. Same thing in here. This guy looks a little crammed down here, so and here, of course. So, um, don't be married to your sketch. And if you see places where you can change things up, go ahead and change it up. And ah, so here we go. We're just gonna start sketching this thing out. It's okay. Now you're paying attention during that whole thing. You might have noticed that I didn't trace out each shape, um, as well. A continual shape. I guess I kind of broke it up. And the reason for that is because I kind of wanted to emphasised that it's kind of a script. And so when you think of a pin writing this and it goes here, and then it kind of bumps up to a stop. And then it continues down into the and that swerves back up, especially in this are in this s I kind of wanted to emphasize those bumps. So, um, now that we've traced it out, this is where the magic happens. We are going to just hit shift X that fills it out for us. And actually, I forgot to dot My I's So it's important to cross your t's and dot your i's in this process as well. So that having been said, I am wanting to knock out the gap in our this e in this s so to do that, I'm just going to select all of these parts. So these are all together. I'm gonna go to my Pathfinder, and I'm going to merge these so that they're together. But I want a new group at first so that this is its own peace. This is its own peace. And the reason why is that when you go in and try to knock these out when they're grouped, Pathfinder can give you some headaches. So it's best to just, uh, un group now, so you can see I bumped the opacity down to where I could see the gaps. I'm just going to come in here and fill in the gaps. One, Davis s first. Thanks. No. Bump this down. Do this E go right over the top of it. I hate that. I hate not being able to see what I'm doing. That's why I never used the pen tool on a fill when it's in the fill setting. Mom, it's just a huge headache that I've always had problems with. So anyway, we're going to take the opacity of to these and I'm going to go to my Pathfinder tool and minus front that knocks this gap out. Same thing here and same thing here. So here's my mark. Now I'm gonna option drag this and copy it for dupe it as it's also been known. Um, now I'm going to kind of picks. Might spacing issues a bit. It just kind of I didn't like the space how tight this wasn't here. And I still don't like how tight these are here. So the way I like to handle that is get my lasso tool and just select this are. And now these air selected Hit A for your directs electoral and do that again. So anyways, why I'm doing this is I want to move. Just this are and none of the rest. So a direct select I'm not even nudging works. Now your letters are going to get a little out of whack. Don't worry about it. You could put him back to wherever you want them. I'm just trying to maintain a little bit of consistency in my lines. And you see, because I grabbed this anchor and not this anchor and I didn't just grab this are this is little wonky, so I can go in, grab these anchors and kind of make my stroke or line or path or whatever you want. Call it. I can make these more consistent. So and here's a good example of this brush thing that I was trying to go forward with this riel abrupt kind of butts up to the end, and then it goes back down. So that's kind of my thought process with that. If that helps explain it any better. So now I'm kind of just doing a bit of maintenance doing a bit of cleanup, making sure that, uh, my lines are consistent and their thick, their bold. Um, and I can really work with him. And if I want to put ah effect on these later or something like that, that's always an option. Um, I'm do a little bit of cleanup a little bit more clean up on this, but as you can see, it's get these guys out here. As you can see, um, we just traced over it and ah, come up with a nice clean mark right here. So again, I just do pit all the time. So once you get once you pin tool out your word, mark or, um, modify your type if you want a type direction, this is more illustrative. But once you get to that point, then we can look in the color and adding a few different kind of design elements. See what we can do to make this thing pops. So I'm to clean this up a little bit more. But the next big step is to add some color 5. Color & Integration: Okay, So in the last video, we traced over our sketch an illustrator and cleaned it up a bit. Um, this is what mine looked like after I had just traced over the sketch, and it was a little clunky. Some of the line consistency wasn't there. Um, these were kind of close. So see how close they were right here. This is the original. And then I spread them out a bit, and ah, gave him room to breathe, still had trouble with line consistency and then wound up with this. So see, the lines of very are a lot more consistent and, um even and there's more room for it to breathe. And I also took it and tilted it down a bit, so it just made it so much easier to read when I tilted it. So as you go through your iterations and go and change things up from, you're gonna run into things like that. And, uh so just keep an open mind and, um, just investigate your options when you're fixing things up. So now I need to investigate some kind of effects that I wanted to you. I'm thinking about doing, um, one effect that is kind of popular that could look cool with this is a kind of a drop shadow effect. And this is how I do it. Um, if this isn't the way that you do it, then feel free to comment with your, um method or different method of doing anything that I'm talking about would love to hear. Oh, you guys do this. This is just the way I do it. So, um, anyways, the first thing I do is copy and copy a make a copy and put it on top of itself. So that's apple or command. Apple Command. See, Come in, F. And that puts one right in front of the other one. So on the top one, I am going to give this a white stroke, and I'm going to put it on the outside, and I know that it's white, and I'm not gonna be able to see it right now, But then the magic happens right here. When I take my shape that has the stroke on it and drag it up, I can hold shift to keep it out of 45 degree angle or up or down or side to side so I can keep it at a 45 degree angle. If I go sudden, Ah, diagonal and go up a little bit more. So there is a huge drop shadow. Let me straighten this out a bit. So? So this could be an effect. That is kind of neat. In some instances, it would work pretty well if we were to go with the tall, skinny typeface. Our version. But I didn't want to, um, go that route. So and I'm not thinking that this drop shadow deals such a good idea here for these reasons . Um, it just doesn't It doesn't seem like work because I have so much movement in the copy. Um, this is really better suited for kind of typefaces that are designed. This thing really, really gets crammed in here. I don't have a lot of space, and, um, actually, this stroke comes up and hits the drop shadow under here. So was kind of cool that I tried to do that, but I'm not gonna do it. So I'm going to duplicate this, dupe it, drag one down. This one's doesn't stroking on something opposed, broke out. Oh, and do pit that is how you do pit. Um, that's kind of corny, but you're gonna be humming that when you're forget to duplicate something, then you have to go back and do your work over. So, um, anyway, I'm back to square one. And another thing I want to try is just a simple stroke. Again. I want this to be simple and bold. I don't want to overcomplicate things and, um, kind of tear my whole idea down with, Ah, super elaborate, um, effect during thinks, not about the effect or the whatever elements. It's not about the elements that you put on it. It's about just keeping that boldness. So I have this group and I'm going. Same principle applies. Copy front. I want a front. And for this one, what I'm going to do is put a stroke on it. Tin works, and this is white. I can barely make it out. Um, so gonna put a stroke on it? I may not go as heavy is 10. I might bring it up a bit. Um, so I have this and then I have this one below it, so I'm gonna drag this one out of here for now. and just gonna focus on this one. I'm going to stroke this one. Put a stroke on this one, too. But I'm going to make this stroke black, and I'm going to bump it up, keeping in mind that I don't want I still want some space. But I want that I want that beef Penis So and I like this. So to outlines stroke, I'm going to go object Path outlined stroke and that turns it into a shape. No emerge that bring them together. And then I'm going to. Since this one's still on top, we're going to center line, horizontal line. And that's kind of Ah, more of a baseball ish look. But my stroke is on the outside here. I want this to be on the inside, so see the difference, and now I can pull my stroke down a little bit and that's looking a lot better. And as an aside, if when you're doing this, um, you kind of get thes rough when you put a stroke on something and it gets these real sharp , jagged, e looking things, you can always go to your corner options and click around join. I'll just smooth everything out. I do that just in case, because this is this has no sharp point on it whatsoever. So, um, so, yeah, that's that's a good way to do that. Um, Now I'm gonna investigate color. So I went ahead and researched river otters ahead of time, and they're either a greyish or brown or something like that. And so I have implemented those colors into these logos that I created a little while ago. I'm going to bring these over here because I'm going to integrate my, uh, primary logo with my word Mark, make a look nice and clean. But first, I'm going to add some color to the word mark. So here's the brown color scheme, and here's the gray or color scheme. So I'm going to go in my swatches, and I created my swatches ahead of time. If you need to create a swatch, just grab whatever color you need and dump it into your palate, and then it shows up right there. So now I know I want this to be outlined Black. I like the black, so I'm going to start with Brown, and I'm going to just mess with some colors and see what can be accomplished. That's kind of that's kind of meat. Um, I can try on the stroke. Doesn't have to be white. It could be this light brown here. That's pretty chocolatey. Um, it reminds me of the Hershey Bears. If you're familiar with sports design at all, Um, I don't want my river otters team. I don't want someone to look at this market. Have have questions about why it's oh, where where they bears colors. I don't want that. Um, so I don't know if I'm gonna go with the brown color scheme, so But I am going to say that. So I'm going to again option, click and drag duplicate it, and I'm gonna go this gray color scheme. So same thing I'm going to I can try a white stroke for my primary. I think I want this greenish gray color. That's kind of cool. Um, that kind of neat, Um, I'm gonna try a lighter shade for the stroke. Now, that's now we're now that looks really cool. It's great. But its unique two river otters, Um, when you're picking colors taken in consideration where the team is or things like that taken those decisions can impact the colors as well. But as far as river otters go, I like this. And when I was sketching, I had this primary in mind. So, um, whenever you whenever you're making a word, Mark, um, and you have a primary logo already designed. Always think about how you can integrate that together, because these marks need to stand alone, and they also need to look good together. So, um, when I tilted this in one of my iterations, I mentioned earlier when I tilted it, um, it created mawr space for this guy to fit, did in right here. This is, to me, the most appropriate place placement for this guy. So, um, Aiken size him up, signs them down, do whatever I feel like I have to do to make him fit in there, and that's kind of cool. That's pretty cool. I like this. I like this a lot more than the brown version. Again. It's unique to being river otter of this mean looking little guy right here. And yeah, that looks cool. So I like this and I am done with my mark. It's complete. Um, if I were to delete this Autor primary logo. This stands alone. It looked great on the front of a baseball uniform, Um, on all sorts of different kinds of collateral. So last thing I'm going to do is outline my stroke. So object path outlined stroke just so that, um when you scale this thing up and down the stroke doesn't stay the same point size and be super small. And you, um, scale it up. So I really like this word, Mark, And, um, I'm I'm done so looking good. 6. Your Turn!: Okay, You've seen us go from research and sketching to coming out with a nice, tight final piece that can be used in a variety of collateral. So, um, I can't wait to see what everybody comes up with. Uh, feel free to post your project in your progress. If you have any questions or comments or tips of your own that you'd like to share, go ahead and start a new discussion. But other than that, I hope you enjoy the class. Thanks again for signing up and have a good one.