Professional Portfolio Presentation

1. Intro : Welcome to professional portfolio presentation. My name is Shelly Seguinot and I am an illustrator and surface pattern designer with over ten years experience in the industry. I license my art to various companies for use in their products. I have learned so much along the way and I love sharing my knowledge with all of you. So many of you have asked how I present my work to clients, so I have decided to put together a class to show you my process and share necessary resources so that you too can present a professional portfolio. Portfolio presentation is everything. As creators, how we present this just as important as what we present. Your portfolio is a reflection of not only your creativity, but your organizational skills as well. |Therefore, it is crucial that you present a professional well-planned out portfolio. In this class, we're going to be using Adobe Illustrator to create differently layouts. There will be different types of layouts, either with mock-ups or without, and there will be industry standard ready for print. We'll also discuss templates, which are time-saving tips that I'll give you an illustrator for using and working with templates. I will also touch a little bit on digital file organization. Protecting your work is super important. We'll discuss backup tapes and file organization tidbits to help you keep your work in order. We'll also discuss portfolio websites. We will explore different types of sites and which ones work best for our portfolios. I will share with you my own site and give you tips on how to get started creating your own. We will also discuss whether or not to password protect your site. I'll also share some great resources for quality presentations. We'll talk a little bit about business, will go over some great resources where you can continue to gain knowledge to get you started selling or licensing your artwork. Finally, we'll discuss the class projects. You'll create your own portfolio layout to display your amazing art. I can't wait to get started and see all your grade art being put together into professional portfolios. Please join me in this class. 2. Layout one: The first thing we're going to work on is our layout. There is no real industry standard as to layouts when it comes to portfolio presentation. Each client will request a different size or format of a file that they would want. For purposes of what the end-user needs, you'll have to tailor it eventually from what your original design was. For purposes of consistency, I like to create everything in a letter size and the reason why I do my layouts in the letter size format, it's because sometimes clients do not request a specific size and the file will be ready for me to mail to them, most clients like to print out and share with the rest of their design team. This way it's already set up in a letter size format. If in the end you end up having to tailor it, there those unique instances will you'll have to do that but for the most part, if they didn't request a specific size, at least you already have it in letter format. By the same token if you would ever go and print your own, let's say portfolio book, or if you need anything printed, some sheets that you're bringing along with you to some show. This way, it's already set up in a standard print format. I have here a letter size, just a blank art board in letter size and what I'm going to start doing is I'm just going to create a series of boxes. It's not going to be in any specific color right now but it'll be some boxes that I'm going to lay out here. I'm not paying attention to actual perfect dimensions. I'm not bringing my guides out. This is something that once you decide on your design, you can bring your guides out and just measure each box perfectly so everything is aligned well in professional but for purposes of this class, I'm just going to drag out these boxes. Bear with me and some of them don't seem to lined up too well. In surface pattern, there's always a hero pattern or a major illustration, a main illustration, and then there's coordinating assets to it. Whether it be a coordinating pattern or other coordinating illustrations, I always like to work with the one main attraction and then the supporting actors. My hero pattern would go up here and then I'm going to create some boxes for some coordinating patterns and these like I said, there's no rhyme or reason as to how many of these you do. Some people work in very large collections and they have up to six or eight coordinating patterns. Whatever way you work is what will work best for you. I typically only have the one hero pattern and then I have three coordinates, that's not to say that I don't end up then with some other coordinating patterns in some of the collections that may go all the way up to six or eight patterns. For me, this is my standard of how I like to lay everything out. This to me looks good like this. I'm just going to drag this down a little bit and drag this up a little bit and to give myself a little bit of room there. Like I said, they're not perfectly spaced out, this is something that once you're happy with the layout that you will definitely go in and layout perfectly aligned to the way you want it. This is my typical layout. In my layout I always include a few things. Here is the name of my collection and now that I have that size, let me actually just bring these out a little bit more. I always have a collection name. I always have the number, the SCU number of the collection, and I will show you what that means in just a minute, just so you can see how I organize my files and how I keep track of all my designs. Each pattern will have its own design number and this is for my own reference so I can keep track of all mind designs. This is also a good reference for the client to, let's say I send them a stack of designs they should be able to just call me up and say, hey Shelly, SS1157 is something that we think may work for our products. Can you please send us a few color variations of SS1157? Instead of saying, well, can you send me the pattern with the polka dot with a dark background with the light cues. It's just this way we're working in numbers and that it's just easier to keep track. I'll show you real quick how I how I do that. When I design, I make sure that when I finish the design, I have a spreadsheet for every single design and that's how I can keep track of it. I start with the date that I created the design, the name of the main patterns so this pattern that goes up here, that one it will have a coordinating number. Then I have a coordinate one, coordinate two, coordinate three, as far as I want. Some do have, like I said, more coordinating patterns than others. Most of the time, I just create the three coordinating patterns, but each one has its own identifying number. The reason why I do that, it's because it's easier for me to keep track. I can go into 2017 files and look up a specific pattern. If I do any color variations, I then renumber the new collection, it may be, let's say I have this magnolia bluff. It may be magnolia bluff peach and then those would get old different skew numbers if that's what that particular client will end up buying. Then magnolia bluff in the color, in the original color pattern will still remain the same with its same skew numbers. This is no different than a person who sells merchandise. If you're selling merchandise, you'll have skew numbers and this is what this is. It's just a system that you can keep track of your designs and that the client can refer to it by the skew numbers. These are skew numbers for products except this is for art. We're going to move on. This is the name of this collection. It's going to be called Lovely Lily. I always include my website, my logo, and my email. Let's make a few tweaks here. This can actually come down a little lower. This guy down a little bit and give it a little bit more room for this guy to be a little bigger. There you have it. That's the basics of my design. Like I said though, it's not perfect right now. I have them perfectly align in my final templates but for purposes of what we're doing here in the class, I didn't want to take up too much time with guides and all that other fun stuff that I'm sure you all know how to do. The next step would be for me to take each design and I'm going to create the colors, the backgrounds, and everything that I need for each pattern and we'll do that in the next video. See you there. 3. Layout two : Now we're going to continue with our layout. As you can see here, I've laid out the base colors of my patterns and I'm going to just start plugging those in. I already had them imported into my swatches palette, which is something that you would have had also on your end as well. This is my first pattern, let me just scale it down. Let's say 70 percent, let's start with that. That's my Hero pattern. Then here I'm going to plug in my next pattern. No, maybe I don't want that one there. Let's see, let's do that one there and let's scale that one down as well. So on and so forth, we'll just continue to plug in our other patterns until we filled all the boxes. Now, scale and all about, that also plays an important part in how you display your art work. Make sure that the pattern repeats. That even though these are small boxes, that it just gives enough of a synopsis, of what your pattern is going to look like, that you're not cutting off any sections, that the client can sketch a full picture of what the pattern really looks like. That's pretty much it. That's just a quick plug-in I did of this lovely lily pattern. Like I said, all my collections have a name, and I do that for two things, for reference and so it can give the collection some cohesive meaning, where the client will know what all of these patterns work well together, and I've gone ahead and done the hard part for them of finding coordinates. The coordinating patterns are all here for the Hero pattern. I do something a little extra, and I'll show you now, I'm going to drag out. This is my Hero pattern. I'm just going to drag this guy out and scale, I'm done a little bit. I just like to do a little something extra, ungroup it, where I take some of the elements of my Hero pattern and, let's say maybe this one, I bring them into the name here. The reason why I do that is I just feel like if it were merchandise, it would have some logo, and to me, this is like the logo of my design. My design has a logo, it works perfectly. It just gives the client just a visual of what the design really looks like. Let's see if this works better in another color. Well, we could even do that and that even works better. I like doing that, I just like extracting a few of the elements from the Hero pattern or from something that represents the pattern well, and I just add into here. If I were to bring this out and print it into, let's say a portfolio book, this title would be represented bigger somewhere else on a page, and at least it has the elements of the Hero pattern in here that the client can then identify. Just by looking at the name, they'll be able to identify the pattern. It's just a little something extra that I do. It's really not something that I have seen, I don't think anywhere else. It's just something that to me adds an extra touch, and it just ties the brand of this pattern altogether. Because to me each pattern is like its own little brand. This way, it just represents itself better if it presents itself with the name and its own logo, and everything just altogether. I don't go crazy adding elements to the name, but I just try to just liven it up a little bit by giving it its own little identity like that. Like I said before, I always include my e-mail address, my website, and my logo in all the layouts that I create, so I have them. As far as the numbers that we spoke about earlier in the last video, there is no rhyme or reason to that either. I just use SS and then dash, and I start creating the numbers. You can use no letters, you can start with just numbers, you can use any combination that you want. I just use SS for my first and last name, but there really is no specific way that you have to create these numbers. You can just create a system, and as long as it's a system that works well for you to catalog your artwork, then that's going to be the system that works well. We'll move on to the next video. 4. Layout three: Now I'm going to show you a different layout. It somewhat has the same principles of this one. This is the one that I primarily use. But let's say I want to add markups to mine and I try not to get too markup heavy. Markups are a good way of helping the client visualize what the artwork will look on a finished product. It is good to every now and then and markups, but it's not something that you should always feel obligated to have markup ready and to display it every single time with every artwork that you have in your portfolio. It gets to be a little bit too much and sometimes it can be counter-productive. Because if I have these markups made, let's say, of these notebooks, and I'm sending this to a client who now no longer offers note books in their product offering, then it's not really helping them visualize what their product is going to look like. I'm going to show you just a different type of style that you can do. What we'll do is we'll make some room here at the bottom. Let's bring these guys up. Sorry, let's just make these guys smaller again. We're going to slide this guy right here, then maybe we'll move this up a little bit more. Slide this guy up a little bit more. There we go. Same goes for this guy. I'll line him up a little better for now. Group that guy. Let's zoom out as one can see what we're doing a little better. I'm going to move the name to come up here. We'll leave that just like that there. Then, lets delete that for now. We can bring this guy down here. Another thing we can do is we can bring in other elements. Let me just show you that. Just going to scale that down a little bit. That's something that you can do like that. We can also move this guy out altogether and then let's say we'll just add him here as a circle. It's almost like creating a mood board of your own designs. It's just, like I said before, it's all about the presentation. There's really no right or wrong way to do this. You can figure out your own layout of what works best for you. But the whole object is to just make sure that you are presenting it well. Because to me the presentation is just as important as the design itself. It just says, "Look at me, I'm a designer and this is what I'm capable of doing and my work is professional. You can work with me. I know all about layouts, I know all about how to present this artwork," and that's what the client is going to want to see at the end of the day. I just deleted that there because what I wanted to do was add the color swatches because that is something that sometimes the clients want to see is just so, just so you can help them visualize the color palette that you used. This doesn't have to be this big. You can bring out these patterns a little bit more, but I just wanted you to get the idea. It's almost like I said, creating a mood board of your own art. The possibilities here are endless. You can actually go on Pinterest and lookup mood board and get a pretty good solid idea of what they look like and just maybe commit to memory a few of the layouts that you see and then just adapt that to your artwork. You may be working in children's products and there may be more fun way that you want to display it. There may be better layouts that you see in mood boards that you can use. But this is essentially a mood board of your designs that you'll be displaying in your portfolio. 5. Working with Templates: Now we're going to talk all about templates. Let's say this is our final design. This is what we said on, this how we're going to design all of our design sheets for the purpose of consistency. Let's say that everything here is aligned perfectly, which this page is obviously not but just to save some time, we won't do that. Let's say this is my final design. This is what I want from here on out. I'm going to go in and I want to organize everything into layers because there are certain elements that will not be changing and certain elements that will be changing, and I don't want to accidentally delete the ones that won't be changing. I'm going to take off these patterns at the top here and let's just make this all pink just so I can see it. Then we know that this was an add on, so we don't need that. We will change this to pattern name and we know that the logo and this information is always going to stay the same. I'm working on a new logo, by the way, this one's a little dated. Let's just put this in a new layer. This layer 2 is going to be called logo info. Layer 1 is going to be all of these. We'll leave that there. This one's going to be called patterns, will add another layer, and that layer is going to have product numbers. Let's drag that into here and I know there's a quicker way to do this, but this is just the way that I've been doing it for years. I just continue to do it that way. I know bad habits. Then what else do we not have on here? The pattern name is going to have its own layers as well. Pattern name, pattern numbers, logo info, that's pretty much it. Now most people ask, why can't I just save this as a regular.AI file and just save over it every time? What will happen and because it happened to me, is that at some point, you will write over it. You'll just save over it and not even realize that you did that. I'm going to save this as, let's put this on my desktop so I can find it, as an illustrator template AIT files. That is a.AI file and I'm going to call it design sheet. There you have it. Now I'm going to show you what the difference is with using the template sheet or just a regular.AI files. This has now been saved. Any changes that I made to this and I re-save it, it'll re-save it as this is.AIT files. A template file. Let's say now I'm going to go and use it. I've now decided to go into the template. I have a new pattern I want to plug in, and I'm going to pull up my template. Let's do that. I saved it on my desktop. Here it is, design sheet.ait and look what happens. It opens up as an untitled new document. Which means that anything that I do to this, I can still make specific changes on here, but I will not be altering my template file. This is just a good way to stay organized to make sure that like I said it's consistency, do all your design sheets will look the same? You won't be altering them. This way, even though you may make some modifications, like I said before, you may be adding mockups to some patterns and not to others. You may have a fourth or a fifth coordinating pattern. All those are slight variations that you can make to the original template but for purposes of consistency, you will almost always have the one base template that you'll be working on. You can also create another template that we'll have just a mockup box, and that can be your mockup template for going forward, but for the most part, this will be your base template. 6. Digital File Organization: So now we're going to talk about digital file organization. Now, cataloging your files will not only save you time, but it will help you keep track of all your artwork. The hardest part for me has always been to keep my work organized. I just like to create, create, create. I wish there were some little elves somewhere that after I was done creating, they would just come and categorize everything for me. This way I can have a catalog that when I say," Well, I'm looking for that elephant in the pink ", I can just search for elephant pink and it would just show up. It's really sitting yourself down and saying I'm going to be organized and this is how I'm going to try to work from here on forward. If you do add files that don't have names or that are so obscure that even you're not going to remember. It's going to be really, really hard to find your files. So, I'm going to share with you my system because like I said, if they were up to me, I'd sit and doodle and draw all day long and not have to catalog anything. But it's really not the way we're going to be productive. So, here's my way of working. So the first thing I do; is I have my pattern file that I started with. Let's say I started in a ten by ten file. That's where I created all my icons. I added all my elements. This is where I created my repeating pattern design. I save that file with the pattern name. So, for instance, let's say, it was lovely lily. Lovely lily now has a raw working file that has all those bits and pieces that I didn't use, all those different color ways that didn't make it to the cutting room floor. All those different elements that weren't used, including having the final product in there, all living within this one raw file. From there, I take my final element, my final design, and I plug it into my design sheets. So now, like we explained before, I'll have my hero pattern at the top. I'll have my coordinates. Everything has been cataloged into an Excel spreadsheet or into a numbers worksheet where I have the pattern names, I have all my numbers. Everything is set here all in one nice visual in my one design sheet that I used for my template that we created earlier. And then that design sheet gets saved by collection. So it'll still be called Lovely lily, but Lovely lily's design sheet will be cataloged into a florals file. So I'll have florals, I'll have patterns that are, let's say just modern patterns, which is where I put all my geometrics, any tribal prints or anything like that, going to that other file. I'll have children files just for kids' patterns and kids' illustrations. If it's a character design that goes into a separate file as well, I'll have holiday in a completely separate file and within that file, sometimes, I'll have another folder called Christmas or whatever, Valentine's, whatever other holidays I want to break up into smaller pieces, but the key here is to have everything into its own folder. This way you'll be able to find everything that you've done, even though your messy raw files still lives somewhere that you can refer to it and you can say, you know what, I really did like that leaf that I created that's in the lily pattern. That in the lovely lily pattern, I'm going to go and grab that leaf and add it to something else. So all those things you can still take and find them in your raw file. But your professional design sheets are cataloged into perfect folders. That's really the way that you should work going forward. So you're able to find things and anybody else that would be hopefully you grow or you've already grown. And at some point you'll have a team that works with you and your team should be able to go into your computer and find your files exactly the way you've cataloged them. 7. Back it up!: Now we're going to talk about backing it up. This I cannot stress enough, it happened to me. I lost every single photo, every single file I was not able to get back. It is the heart wrenching truth that it happens every day to someone out there. There is not a community that I'm not a part of online of artists where somebody will say, "My laptop crash, my desktop crashed, I lost it for everything." It is so important to back up your files. It is so easy to run out of memory in a computer, that your computer will eventually crash. We do work with digital files and we lay upon layer of textures and next thing you know, we run out of memory and the computer doesn't know what else to do other than crashing. I have learned the hard way that external hard drives are my best friend. They're inexpensive and they offer peace of mind. I have several external hard drives. My newest desktop, I'd have an iMac, has practically nothing in its memory. My external hard drive is hooked up to it. Everything that I create gets backed up into that external hard drive. That's where my files live. They do not live on my computer. My computer is just the vessel it's just a tool that are used to create the artwork. Then it gets saved right into my external hard drive. If you have the money, invest in an automatic backup system, you can use the Apple Time Machine, I have that as well. It does an automatic backup of anything new in my computer every single night. There's also really great online vendors that you can use that do the same thing for you. They'll back up your files every single night. You do 100 percent backup of your computer. You do not realize how on a daily basis, if you work on your computer to create files, how much artwork in just a week's time can be lost by you not having a backup plan. Make sure you back it up. 8. Portfolio Websites: Now we're going to talk a little bit about Portfolio Websites. This is something that I've had for a very long time. I used to have a Word-press site that my old company used to live on and from there I had a Portfolio Website. Hosting fees can get really expensive on some of those sites, so you just have to be cognizant, do what works for your budget. Some of the ones that are out there is a Wix.com is a brand new one. It's been around just to handful years and they seem to be a popular site, very easy to use to start your own website from scratch. The days of paying thousands of dollars for someone to design a website for you are long gone. You can do this on your own. It is so easy to do. I'll share my site in a little while. Another one that's brand new is Adobe Portfolio. Adobe came out with their own portfolio website for artists. It's free with a created crop Creative Cloud membership. I started using it just took it out for a spin and it is pretty easy to use. It's a great way to get started. To me it wasn't very professional looking. At least I didn't really get the hang of it at the end, so I went on with Squarespace. Squarespace.com has great templates, it's super easy to use. I will share with you my website that's hosted on Squarespace. You'll see, this is shellyseguinot.com. From here, I was able to create my own portfolio. I'll show you what that looks like. That's split up into categories. I have patterns, children, holiday, and seasonal. I have stationary, which is a big category for me, and I have product model mock-ups. Remember what I said about mock-ups, we can get crazy doing mock-ups, so I decided to have the mole live in just this one little area. If you click on the patterns, I'd like that this particular template gives you really large images of anything that you place on here. It is perfect for me. I love that the patterns can be made so large. All here's a lovely lily and it really works for me nicely. I have on here an about page. I have my classes all that are on Skill-share, I have listed on here. I have a contact page. I have a blog which I haven't kept up too recently, and I'd have a pop-up shop where my old arming press shop backed by popular demand every now and then comes back with some seasonal products and this is where my pop-up shop lives. It is a great site. I will show you what the behind the scenes looks like. If I can figure it out, I'm sure any of you can figure it out. It was so easy to set up and so easy to use. This is my behind the scenes website. I'll show you here. On the left-hand margin you'll see its pages, design. In the design, you'll see the template. My template is called the Avenue. That's the one that I have live here. I loved it because the pictures, like I said, the images are all so large and it was perfect for me to display my artwork. I'll go back to here and you'll see in pages that's where I have all my categories broken down like we saw earlier here under portfolio, and then I have patterns. Everything pretty much lives in here. 9. Password Protect: I'm not going to dive too deep into password protecting near your name, but it is a matter of preference. Honestly it's a little bit of paranoia, is what really is the deciding factor. My portfolio website originally was password protected. Then I got some really good advice from a few friends who said, if you password protected, then the creative directors or the manufacturers that come across your website may be too busy to run back to send, take the timeout to click on the contact tab and to send me an e-mail, requesting access to the full site. The more you share, the better off you are. That really is what works for me. In the end, if you are really thinking about password protecting it, just makes sure that you leave a lot of unprotected content to leave them guessing and wanting to see more. But just remember the more you show, the more opportunity you will have. If you don't show enough, then maybe that creative director or manufacturer may just bypass you because it's just so much of a hassle for their busy lives to stop, send you an e-mail and request that password. There's plenty of information online about this and it's pretty much like 50-50 split, whether or not to password protect your website, but just do some research and do what works best for you. Mine is wide open. I would hope that by leaving it open, artwork doesn't get stolen, doesn't get used. But that can happen anywhere. That can happen by you sharing your posts on Instagram, you sharing your posts on Pinterest, you sharing your artwork pretty much anywhere, you artwork can get stolen. Your website is where all your art lives or most of you art lives, then that should be a key place where key people go to look for your art. I like to leave it open. Again. It's a matter of choice. 10. Print Resources: Now I want to share with you a few Print Resources. Just remember that you don't want to skim on quality because of a budget. Great quality printing will show your best work, so quality will matter in the end. If you can't print 200 catalogs to bring to that show, print a 100 good-quality catalogs and make 100 impressions of good impressions instead of 250 bad impressions. That's just my train of thought. I just want to share some print resources that I've used and maybe you have found some of your own, but these are just a few that I use and that I have tried and they have provided great quality products for me. The first one is Blurb. They offer hardcover books and you'll see this is pretty much become an industry standard for those that exhibit at StarTechs. Blurb has really great quality paper. So your colors come out vivid. It's really a great portfolio printing resource, Blurb for your hardcover books. Moo is a great site for business cards. I know you can get really cheap cards, 1000 of them for practically nothing from sites like Vistaprint, and some of those other online sites, but Moo is a really great quality business card. So when you're displaying art, the quality of the print of the paper and the ink will show your work up better than printing 1000 cards of a cheap quality. It's just Moo's quality of business cards is second to none. You can also do variable printing with them. You'll be able to print 10 different designs onto a stack of cards instead of having to print 1000 of just one design. Then I've also used UPrinting for catalogs, postcards, and other promotional items. A lot of my catalogs that I've used at trade shows, have come from UPrinting. A lot of these sites will send you a huge pack of samples. Sample out the paper, the thickness of the paper, the quality of the paper, whether you want it shiny or matte, just make sure you order a sample pack of what the quality of their work looks like. These are just some of my resources that I wanted to share with you in case you were ready to go and print some of your portfolio items. 11. Biz talk: What to do next? What are your next steps? You have your portfolio site all set, and now you don't know what else to do. Well, there's a bunch of resources out there to continue your education, so you'll know what to do and what steps to take next. There are a series of books out there that are really, really helpful. I still refer to a lot of these. There's just some contract talk that sometimes I don't really understand and I refer back to these books. One of them is License to Draw by Ronnie Walter. She really dives into the business side of things when it comes to art licensing. There's Art Ink by Lisa Collington is also a very good book, and Twenty Steps to Art Licensing by Kate Harper. Kate Harper actually has a really good blog with tons of information about art licensing. There's also some online classes you can take. Skillshare on how to make money, Art Licensing with Ronnie Walter. Ronnie Walter, she's just a guru of the art licensing world, and I was so excited when she decided to post the class on Skillshare for everyone to have because she is just a wealth of knowledge. She also has, through her website, ronniewalter.com, she is coming up with a new class, licensing ladder, and that's a really intimate small class that meets once a week that she really makes you put your plans into action, map out how are you going to approach designers, how designers are going to approach, create, how you can approach creative directors, how you can really get your work out there and be seen. But she really holds you accountable. It's a really great class. I was lucky enough to participate in it. I just love Ronnie, she's just been super helpful for me. There's also Make it in Design. They have a whole series of classes, I'm sure you've heard of them. Some of them, I think it's there ultimately, portfolio builder really dives into the business side of how to get your work out there. That's another one to look at also. Then the Art Licensing show, that's an online platform where you can have a portfolio site, and through that community, there's also not only other designers that have their work on there, but there's also manufacturers that have access to this site, and a lot of people have gotten really good art licensing deals out of that. In addition to that, they're just a really great community that you can just ask any questions of, and either someone's been through it or they can guide you on how and what to do next. It's really just a great resource to have and there's a bunch of different membership levels, so artlicensingshow.com, take a look at that one as well. 12. Class project: Now the wrap up, the class projects. For the class project, you'll be creating your own design sheet template. You can use the layouts that I used in the class or you can find your own unique layouts and just plugged in your designs onto it for all of us to see. It really it's not about the artwork that you're putting into it as much as really fine tuning a good layout that's going to display your artwork well, and just make sure to share it into the class sites so we can all see and cheer you on. I really hope that you enjoy this class. This class came up as a popular request. A lot of you have asked, I've created this art so now what do I do with it? How do I save my files? How do I organize my files? I hope I've answered a lot of those questions here. I hope to see you around class if you have any questions, drop me a line in the discussion panel and hopefully we'll get to see your projects soon. Thank you.