Sketchbook 101: Sketchbook Play

1. Welcome to Class: [BACKGROUND] Sketchbooking is supposed to be fun. For me personally, my sketchbook is a place to learn more about my illustrative style and also just a place to have a good time. I work digitally as an illustrator and spending hours on my iPad or computer can take a toll on my eyes and my brain. It's incredible to be able to take out my traditional art supplies and draw an actual paper sometimes. Though I don't use these sketchbook illustrations as final artwork, I still find this practice really beneficial. In this class, I'll be sharing a few exercises that you can do to inject some fun into your sketchbook practice, to push yourself out of your comfort zone, and to continue to think about evolving your style. I personally noticed that my relationship to my digital brushes and my digital illustrations has changed a bit since I started playing again with my pencils and paints and my sketchbook. My hand is looser. I've discovered new textures that I like, and I feel overall more creative and free. Sketchbooking is my hobby, but it is also helping me to be a better illustrator. Hello everyone and welcome back to another class from me, Kristina Hultkrantz. I'm an illustrator and surface designer for Mariefred here at Sweden. As I said in my intro, I've decided to use sketchbooking as my hobby. I create art for a living, but that doesn't mean that I have to not have fun when I'm creating art. Every piece that I create doesn't mean it has to be a professional illustration for my portfolio. Having fun in a sketchbook means a lot to me. I love taking a full workday, fun Friday usually, to work on exploring in my sketchbook and having fun, because that's just as important as working on your craft and creating important portfolio pieces. I'm really excited to share my process of adding a little play into your sketchbook practice. This is part 2 and 3 parts sketchbook class series. Make sure to check out part 1 to get a rundown in sketchbook basics before getting started in this class, if you'd like. Let's get started. 2. Your Class Project: [MUSIC] This class in this series is all about starting a sketchbook practice that you can maintain that you will find inspiring and fun. This class in particular is all about playing. We're going to have so much fun in this class playing with mixed media, different colors, different exercise to just get your brain going. For your class project, the final project will be to illustrate a small vignette or a little scene of a shelf. We'll see what happens. Before that, we'll do different exercises. You can choose if you're not ready yet, just to share your exercises and the fun that you had doing those or if you do feel ready, you can show your final illustrated vignette. I really urge you to upload something to the class project area, just because it pushes you to get yourself out of your comfort zone, you have to be a little bit brave to upload your work. It's also an incredible opportunity to get your work in front of me, my eyes, so that I can give you some encouragement or feedback if you'd like, as well as your peers. Please be brave and upload your work. You can also feel free to upload something now, and then as you work and play more in your sketchbook, you can update your Skillshare project to show your progress. 3. Sketchbook Supplies: [MUSIC] In the previous class, I went over a sketchbook basics and I talked about the different notebooks that I use. In this class, I will most likely be working more in my sketchbook that has slightly better paper rather than my really sketchy sketchbook. Because this notebook in particular has very thin pages, it's not going to hold up with the paints and pencils, and things that I would like to play around with. I highly recommend if you do have a sketchbook, or just scrap pieces of paper, add more weight to them. This particular notebook has 120 grams grand paper. It will hold up to the different exercises that we'll be doing. This particular notebook is from Royal Talens. It's called the art creation notebook and I really like it. Besides the sketchbook of your choice that you'd like to use, in this class, I'm going to use colored pencils. I really like the brand python dash, and I use the Pablo and Luminance pencils. I also [NOISE] recently invested in a couple of their Neopastel version II water-soluble crayons and that are really fun to play with because you can play with water as well and loosen them up. That's what I will be playing with. [NOISE] It also could be fun to take out a watercolor set or gouache if you have it. But just use what you have at home. All supplies will work for the exercises that we'll be using. 4. Warmups: [MUSIC] Back when I went to art school, I took all the traditional classes from charcoal drawing to oil painting. The teachers always suggested warm-ups before we got started, so that's exactly what we're going to do in this section. A couple of warm-up exercises to get our hand going, get our inspiration going, and getting our creativity flowing. Welcome to my pink sketch book that I use for play and exploration and we're going to get started. To get started, I think it's always a great idea. If we are going to be using traditional materials to do a little bit of a warm-up. Especially, I'm a digital artist and I'm constantly in the digital world and just remembering how my actual tools work, is a great idea. Also back when I was in art school, I was taking tons of classes from charcoal drawing to oil painting and we always started with some warm-up. There is so many different kinds that we can do. You can just play with your materials and see what happens, experiment. You can give yourself a time limit and create little sketches or drawings in your materials really quickly for 30 seconds, one minute. Or you can limit your materials just using two colors or something like that. Let's just get some play out of our system and start to really have fun in our sketchbook. Here is one example, here's just swatches. This is really simple. I find it really soothing to just do some swatches in your sketchbook, especially if you buy new materials. These are the calendar's neo color to wax pesto. Watercolors in these become really beautiful, stunning vivid colors and you can use them as watercolor and as crayons. Here's explorations with layering different watercolor, gouache colored pencil, these neo color crayons on top of things, doing different layer exercises with watercolor and gouache and everything. It's just playing with your materials and see what happens and discovering new things. Here's with salt, it's always been a favorite of mine since college. [NOISE] I like to go into small little just drawings and scribbles and doodles, but in material rather than just pencil like we did in my other sketchbook. Here I did just squiggles and lines and layering effects and small little images like a mushroom and things, but just nothing too serious, nothing that's supposed to be like a final artwork. Then I did two studies here as well. Find a new page. Here we go, new page, we're just going to start making marks. I don't have anything really in mind. I think I'm just going to use blobs of color. I'm going to layer, I'm going to play with my different materials. I'm going to bring up my colored pencils here to the side as well. Hopefully, you can see my setup here, I'm going to be using my current dash gouache pan set, which I really think is really fun. Let's just jump into it. I'm just going to start drawing stuff. I don't know, experimenting. I have a palette here as well that I've been using for these experiments. I should just use what I already have to see what colors and things I can make. Let's start with some blobs of color. [MUSIC]. Now that I have laid out some basic, I don't know, what do we call this? Form, shapes, background colors, I'm going to start to add in other details and see how these materials play with each other. Again, I'm just going to do doodles and things just to get my creative juices flowing, just play. It's difficult to describe what I'm doing here, I'm just playing around adding different layers of different things, seeing how they interact with each other. It's great to know how your pencils go on to your different materials. I've found since these wax crayons are indeed still wax, even though they're water-soluble, they're more difficult to color on top with colored pencils. It's always good to know how things work. If you start working on your final illustration, you've already discovered those things that might be an obstacle. Otherwise you might get frustrated that you had planned on drawing in a certain way. That's something that I have definitely struggled with since using more traditional materials that I'm so used to just being able to in a digital document, open up another layer and I can just draw on top of anything and I don't want to think about opacity and how things show up or not, it just automatically works. [LAUGHTER] But here when you're using traditional materials, some work better than others. Just have fun with all the materials that you have at home. We don't necessarily, of course have to use the same things that I am using. I want just to see subtle textures like this is already green, but adding another layer of texture makes it more interesting. To keep this exercise a warm-up, I would suggest limiting how long you do this. Max an hour, maybe ten minutes is good enough. Just so that you get your creative juices going. You're excited about your materials [NOISE]. [MUSIC] That was really fun. I feel like I'm not afraid to start layering, do things. That was the point of this exercise. Now we can get into some other fun things. 5. Objects in Different Styles: All right, so if you remember the exercises from my previous class, the about sketchbook basics, you will remember all the different objects that we drew to get used to creating different shapes and testing out different styles. But in this class, we're going to start playing with those objects. So using those objects that you drew as reference, we're going to now play with them even further. We're going to play with texture, color, and style. This is going to be a really fun exercise to get even more ideas going and different ways of interpreting simple objects. So if you took the first part of the sketchbook series, we spent a lot of time drawing objects, and now we're going to put those into good use. If you remember, I created pages of objects such as houseplants in vases and cups and things like that. Now we're going to start to add color to them and play with style and play with some of these parameters that I was talking about previously. In my sketchbook here I have [NOISE] lightly sketched it out, you cannot see it. First lets get just some of my house plants created quadrants here. I've created very light sketches in brown colored pencil of houseplants that I'm going to be playing with, and I've created 1, 2, 3, 4, 5, 6 little squares and I filled them with one of the bowls that I have drawn. I'm going to play with some style and layering, and again just have fun with my materials. This is just an exercise to see if you can discover anything that you really like. We're going to try to draw these in slightly different styles, they're still your style because you're drawing it, and your style can evolve and change and be a little bit different from project to project. We're going to try that. [NOISE] We're just going to jump straight in and get drawing on some of these houseplants. To begin with, I'm just going to try to do a good job I guess. Kind of realistic, but a little bit loose. I'm trying to get a little bit looser with my style, I think I draw things a little bit too tight always, that's my go-to is to draw quite tight, so I'm trying to loosen up, but we'll see how that goes. I'm going to try to be messier when I'm drawing but its so hard. I'm so tightly perfect with everything. [MUSIC] [BACKGROUND] In this pan-gouache set. I do quite like using the gouache lighter or more watery than regular gouache that would become a little bit more creamy in consistency. For my sketchbook, I find that easier and more freeing than using very thick paint. Since I'm not working on paper or something that's not inside my sketchbook and can easily crack and things like that. [NOISE] Another thing that I'm personally trying to work on within my getting better at drawing traditionally to-do list is that I want to add more color variation into my work. When I draw like this, I often use one color and I do things really flat, so I'm trying to introduce different variations because I think that that really brings out the life into your work. When you work with traditional media, it's a lot easier to add in different tones because I have a palette like this that's full of different tones that I can easily pick up. It becomes kind of accidental sometimes. [NOISE] When working digitally, everything's a lot more planned out and you don't have too many happy mistakes that can happen. I'm trying my best to embrace that quality. [MUSIC] Well, my first house plant is drying. Before I add in other details with the new color pastels or colored pencil, I can now move on to my other stuff. I can start working on these ones. Again, mainly I'm picking colors mainly from what I have already on my palette and just going with it, and I'm not planning out anything. Just do all on the fly. [MUSIC] Next one, let's just try to do everything in the neo color crayons. One thing that's interesting about these is they do really feel like you're drawing with a crayon because they don't sharpen into a perfect point unless you sharpen it of course, so I feels like less [inaudible] against the point of [inaudible] Let's do this [inaudible] sheets [inaudible] [NOISE] five different shades of blue that I'm going to mix to create this one. [MUSIC] [inaudible] colors, scribbles with billy blues. Because they are water-soluble, it could be a little bit fun to do so. Blending with water, but not too much. [NOISE] So that you don't see the [BACKGROUND] It's not horrible, but not my favorite look. Anyways, that's the whole point of this. Hope we can go back to this one now. [MUSIC] [NOISE] For this one, I think I'm just going to add a wash to the background in really light and then we'll do all the details in colored pencil. Just give it a wash, and then draw the details in another color. For this one, let's do a bold painted bowl, and then we can do all the other details in colored pencil to do the opposite. [MUSIC] There we go. I am going to test out the neo color again and see how we can manage this time. I thought it was a little bit too sloppy that time around. I'm going to try using them a little bit more elegantly. [MUSIC] While that dries, I'll do another wash of color on the last one just because I like it. [inaudible] colors into. Details can we add to this one. I love how colored pencil looks on top of gouache. I would just scratches on top of that. I'm going to add more texture to this shadow underneath this picture the last thing. Again, I'm trying to use [NOISE] different layers and trying to be a little bit elusic that you like the idea of that. By just adding some colored pencil lines on top, it brings the gouache out more, try to describe. It just gives it more live character. The handles of this picture are too close to that background colors. I'm going to go over that area with a darker blue. Adding some subtle shadow. Now with the loose colored pencil, I brought this messy gouache underpainting a little bit more to life and is a lot more appealing to me what I like. Before I was thinking that it was a lost cause, this one I feel like is the lost cause, I will just ignore that one. That one didn't turn out pretty well. This one I thought we'd just do something fun and simple. I have a beautiful gouache wash of the background and I'm just going to simply do a line drawing on top. [MUSIC] That outlines, but I'm thinking like drawing need some light shading in some way. I could do some lines here to experimental shadows maybe. Not in love with that one either. My beautiful yellow bowl here, let's see if I can add some details to this without it going over to becoming ugly, it really sucks. I really like how it's looking now. [MUSIC] We can do for the tablecloth, you can do a simple tablecloth. The tablecloth I liked just dark blue. We'll do some standard check part. Then I think about shadow, if this is going to mess it up it has always. The same thing I want to give some dimension to the sides of this bowl. Another one, that's quite fun. We have two more. Now that this one is dry, I can go into this one. I can do another stripy version a little bit more crude thick. That looks nice. Maybe wet this tablecloth slightly, just to melt it together a little bit without it. Then we have our last one here, which we do for that. Sometime that looks a little bit more glass-like, I can try. [MUSIC] Very simple. Then finally, let's just give some last details to our plant over here. This one is definitely dry, so this one is going to be really easy to work on. [MUSIC] Here is my final play with objects in different styles and materials and techniques. None of them, I'm a 100 percent in love with, but it was still fun to play like this, and try. We have some interesting textures going on here with all the different types of pink. If I practiced and did this exercise so many more times, I would finally get to a point where I know what I was doing and really enjoy the process. This one I think I got close to how I want my traditional work to look, and I enjoy working like this. This felt really outside of my comfort zone. This one was also close to how I like to work about comfortable. Again, these were just experiments and I enjoyed doing them. Continue to do the same thing in your sketchbook, and take some of the objects that you sketched in our first sketchbook class, in your pencil sketches and transfer them into a world of color. 6. How to Do Artist Studies: [MUSIC] It's really difficult as an artist to work in a complete bubble where you have outside influences from different artists, different photographers, movies, films. We're all looking at same images a lot of the time, either on Netflix or Pinterest so we're being influenced by many different of the same things together at the same time but we are all individual. But I still want to bring this up because in this section we're going to be doing artist studies and that means copying with the intent of educational purposes, another artist's work. This isn't about stealing someone else's work and making it your own, or saying it's your own. This is about learning from other artists who have gone before you that have techniques and styles that you admire. Now, this exercise isn't about becoming a copy of them. It is about learning different techniques that you can bring to your work. By doing several different artist studies of different artists you can fast forward the process of learning more about your style and what you like and developing that style and making it your own. If we do studies of different artists, you can take little tidbits of different things that you've learned from different artists and bring it to your work. It's really important that you learn not to fully copy everything from one artist. You can't steal their color palette, the way that they render, the way that they create shadows, but if from several different artists you're taking different pieces and then interpreting it in your own way because this exercise also is very open for making a copy of someone else's artwork where you don't have a step-by-step tutorial of their process. You are open to make your own decisions of how that artist possibly made those lines and marks. You are in the process of doing this, making the work your own with a process your own in some ways. This exercise is really important and it really helps you to learn new things but again, I need to stress that is very important that you're not sharing these works as your own, crediting yourself as the artist. Is best to keep these just in your sketchbook as an educational exercise. I want to talk to you about artist studies and I think this is a really important exercise, but it also comes with some instructions because it's really important that you understand what this exercise is all about and don't misconstrue this. I think it's insanely difficult working in a complete bubble with no outside influences. It's just impossible. We're constantly looking at other artist's work and we're subconsciously or consciously taking little things that you see like how somebody draws fur or hair or face and you bring that to your own work, hopefully filtering it through your own experiences and your own hand and you're making it your own. Reference is really important. You just have to understand how to properly do this. This exercise is great because if there is a certain technique that you like, you can look at an artist that has that specific technique and learn from that. You'll love this exercise because you're doing it on your own. You're just copying what you see in a image from an artist. We don't necessarily know how they created that artwork, or what their steps were, or what materials they were using so you're also at the same time as you are using in a reference and trying to mimic it, you are coming up with your own ways of doing something. That's why I love this exercise and every time I do this, I learn something new and bring something to my work. Again, it has nothing to do with trying to become a counterfeit artist for a certain artist. This, for example, is Marta Altes. I love her expressive artwork and her funny characters. I don't want my artwork to look exactly like hers, but I'm hoping by doing these exercises I loosen up and I learn things about how I can incorporate more fun for action into my work if I were to create a fluffy character, something like that. When you're doing this exercise, don't just copy what you see, but you can also figure out at the exact same time, how you can make it your own. This usually comes naturally because to me like just cooking, I have such a difficult time following a recipe, I have to do my own thing. Same thing in artwork, you're going to notice some things in another artist's work that you just don't like and you're just going to change it and that's okay. Again, this is a sketchbook exercise and it's important that this exercise stays in your sketchbook for educational purposes. For this section, I have done a artist study of Rebecca Green's artwork because I really love her expressive use of gouache and the way that it feels so loose, but then she tightens it up with colored pencil. In this case, this was for her book, Loujain Dreams of Sunflowers and she did really loose gouache with black colored pencil details and I just want to test that out how it felt. Like this doesn't feel like me, that's not how I want to work. I think it's too contrasty for my work, but that's something that I learned in the process. After doing a few studies, what did you learn? What features are you going to bring to your own artwork and what are you going to leave? It's important to think about what you learnt after doing these exercises, about what you want to bring to your work, but what also you didn't like. I think knowing what you don't like to do in your artwork is just as important as understanding how you do like to make your artwork. Also, make sure to mark the pages in your sketchbook that you have copied another artist's work so that if you do reference your artwork that you're creating in the future and go back to like, I loved how I mix this. Just make sure that you directly copy this from another artist and it would be important for you to switch it up and try to make it your own. Also, after doing this exercise, you could think about going back [NOISE] and doing this exercise again, but thinking about trying to do a vase or object in Rebecca Green style or another artist that you admire, etc, and see how you will learn in that way. Then you're not directly copying something that they have created, but you're mimicking their style. How does that look? Do that become a way for you to make it your own? I really am excited for this exercise for you to test out and see what you learn by mimicking several different artists that you admire. I would definitely not focus on one artist because it could become subconscious that you start to mimic them without realizing that. I think it's important to look at many artists' work, it's important to learn from many different teachers, and it's important that you are tweaking everything and making it your own and getting references and ideas from tons of different places so that your work is uniquely yours. Again, I really hope that you enjoy this exercise. It's really freeing to just try to copy something and figure it out. No, it doesn't always look exactly like the original. Here's a time lapse of how I created these artworks of Rebecca Green. [MUSIC] 7. Project: Sketching: [MUSIC] Now that we have worked on these different exercise to warm up and then we've done some studies and we've been playing in our sketch book, it's time to use all that information that we've gathered and create an illustration of our own. We're not going to jump right into creating a character right away. So in this class we're just going to create a little scene, a little vignette of shelf or a still-life or something of that matter, which is some objects using the objects that we have collected and referenced from our sketchbook practice. Now I'm going to take you through my process of creating my own vignette. Now it's time to get started on our class project. For the class project, again, we're going to be painting a small little vignette of objects. If you remember from the first section of this sketchbook class, in our regular sketchbook we did a lot of different studies and drawings of regular household objects such as house plants, cups and vases and things like that. Now you have lots of information and reference material to draw from. We're going to use our drawings and figure out a little vignette. A vignette is just a grouping of a couple of objects that look nice. Let's think about some of the items that we have drawn here. You also may have sketched them in color in your sketchbook as well such as I did. Some of my house plants in colors, so you can choose to use some of those as references as well or one of these studies that we did to add on to this to make a vignette if there is something that really stood out to you that you thought worked. I like this yellow and blue scheme, so maybe I will work on that. I've also painted some quick backgrounds to use that I could use for this. I think I will because I think they look nice. I just did some messy gouache backgrounds with some colors that I had leftover. Since I did two, you might as well do two. But back to the sketching, we take a look at my images that I drew. Which one would I want to include in my vignette? I think a shelf could be interesting, maybe. Shelf or floor. I can do different things. If I thought of I have two vignettes like this that I can draw, one maybe can be a floor with lots of plants. This can be that one and this one can be a shelf. Maybe not have the shelf in the middle. A little bit lower shelf. On top of the shelf we can figure out different things. I should move back and forth. Here we have some ideas. I like the shape of this vase. I think I will pick that. I think I can some plant. I really like this plant [inaudible] drawing. Something that may be hangs a little bit. If I did a smaller plant in front like this that did the hanging like that. We need something else, something a little bit bigger. Something on a foot maybe. Also this vase I have done lots of patterns. [inaudible] Then some free leaf vase. I like the one that I did before with the scalloped edge. There we go. That's a very simple sketch for a very simple vignette. Then we can figure out another version for this one. I thought would just be like a little grouping of houseplants. I really like this one guys, so I think it'll be the main attraction. Slightly difficult to reference things in your sketchbook, but it's okay to flip back and forth. Maybe we'll do three. The other one. It's big. I'm going to do [inaudible] different. It just has a couple of leaves like this. That composition, I hope that I can make it a little bit better. This one should be smaller, I feel. Something low that overlaps a little bit here. Like this plant. Something like that. We at least I have some ideas. We've drawn them in a regular sketchbook so we don't mess up this too much. Now I can start to sketch out my designs here on my prepared gouache page, which is fine. I'll just go ahead and do that using other sketches like reference. We'll put it over here. [NOISE] Regular pencil can get a little bit smudgy and brown-looking when you mix it with paint, so I'm going to use a colored pencil instead. You can use one of these erasable colored pencils in brown colors so it doesn't show up too much and doesn't really affect my frame. [MUSIC] [inaudible] 8. Project: Paint/Color: [MUSIC] Now I'm going to get started on adding all of the first layers of color. When I'm doing my experiments and when I have worked with traditional media, I have figured out that I like the gouache or watercolor as a base and then I like adding colored pencil on top, but that's just my personal preference. You can choose to work in the way that you like to work. But I'm just going to show you the way that I feel most comfortable and I feel like my work comes out the best. [NOISE] I can take a look at my examples that I did previously. I'd started with layers of paint and then I add build up details and shadows and things like that in the pencil. That's what I'm going to be doing. [MUSIC] Now I've added the first layer of gouache paint, and now I can add all the details to bring this illustration, these little vineyards to life. 9. Project: Final Details : [MUSIC] Now that my paint has fully dried, I can easily go over with colored pencil and adding all the detailing and shadows. I'm just going to jump right in. First I like adding a little structure to the paint. Then I go in with different colors and add details. There's no rhyme or reason here, just doing whatever makes it feel like it becomes more done to me. [MUSIC] Those are my final vignettes in gouache, and I think they turned out quite cute. There's some details that I really like. It was a good little practice session, getting used to my traditional media again and just having fun. This whole class is about having fun in your sketchbook. It's about breaking out of your regular art practice and just doing some simple things. Because even though it's a simple project, you can still get a lot out of this. I also want to share [NOISE] with you how you can take this exercise further. You could try to draw the exact same vignette in different styles or in different media to see how that works. You can choose to use photo references, such as I did with these to create landscapes or other kinds of vignettes or to start drawing people or other characters as you come up with. You can continue to do artist studies and then think about creating a vignette in that artist's style. Then also see how you can interpret somebody else's style but make it your own. You can continue to do exercises like this with small objects and test out different variations of your style to have more fun playing with your materials and your sketchbook. I hope all those extra little ideas gave you some more ideas of how to fill your fun sketchbook. You can also, like in my previous class, look at my sketchbook to-do list where I have written out tons of different prompts and things for you to think about and draw so that you never have a question mark when you open up your sketchbook to a blank page. Thanks so much again for following along in this class and this class project. I really look forward to seeing your projects as well. 10. How to Keep Going: [MUSIC] All right so that's the second part of this series finished. I hope that you really enjoyed having some playtime in your sketchbook. I just want to mention, how do you keep this momentum going? I think it's important to revisit these fun exercises even if they feel a little basic, especially going back to your materials, maybe you've played with your materials before. But you can always add onto it and learn new things as you go because art-making is limitless, I don't know. It's constantly evolving the way that you use your hand and your brain and your creativity, so you can constantly learn new things. Again, I'd like to mention that you should check out my drawing, sketchbook drawing to do list where I have listed out tons of different objects and character characteristics that you can draw from. You always have something to draw and you never have that question of what to do on a blank page. Then again, I just want to say just keep going. As you create more art, your art will evolve and you're going to see huge difference. As you fill your sketchbook with different pages and pages and pages, those first pages might be shaky, but by the end, it's going to start looking better and better, and that's so exciting. I can't wait for you to do that final flip through and feel that achievement that you've done. 11. Final Thoughts: That's it. Thank you so much for watching this class with me. I really appreciate having you as a student and I can't wait to see your projects in the project gallery. Please make sure to upload something. This class is really open and free, so just take a few photos of your favorite spreads that you did while playing in this class or your final vignette if you thought that it turned out lovely and you learned something. I can't wait to see that. Make sure that you're following me here on Skillshare as well that you'll be notified when I upload future classes. If you'd like to hang out with me outside of Skillshare, the best places to do that are on Instagram @emmakisstina, my website emmakisstina.com. I also have created a Facebook group community that's private and really beautiful. If you want a little bit more attention for me and get to know me better, and I have a lot of extra teaching content there for free as well. I look forward to seeing you there as well, and I'll see you in my next class. Bye.