Urban sketching on procreate

1. Introduction : Hello everyone. I'm Michael Hughes. You may know me as hugs yachts. And I'm a professional artist based in the UK. By professional artists, I mean, I do this full time. It's my main source of income. And it's really great to have taken the plunge and started doing something that I really love. That's basically what professional meetings I'm a freelance artist, take on commissions and I do tutorials and create my own brushes and et cetera, et cetera. One of my main passions in the art world, along with the character and cartoons, is urban sketching. Now, your traditional urban sketching, you are going to be arriving at a location with a sketchbook. I take a pencil just to sketch out my composition. I take some fine liners and waterproof inks. I take my watercolors, I've got a little Cotman travel set and some water. So what I wanted to do was to get this traditional urban sketching feel and transfer that onto the iPad and Procreate. I knew it was possible, but it's taken some time to get that traditional feel. So in this class, I'm gonna be teaching you how I sketch on Procreate. I've created some brushes which mimic watercolor brushes and watercolor splashes. I have a mimicked the ink, the ink lines that I want. So it looks authentic and great. I'm also going to provide you with the Canvas. So you've got that traditional paper look. Yeah, it's so much fun. That is no bad. Urban sketch. You, it never looks bad in my eyes. You just have fun with it. Let it flow. And yeah, I'm excited. I'm excited for this class and I hope, I hope you really enjoy it. So all that being said, and I'll see you in the class. 2. Planning our composition : Hello everyone. Welcome to the first lesson in this class on how to urban sketch on Procreate. I'm super excited about this one because I loved doing it so much. And I'm pretty sure you guys will too. So this is one I did actually did this morning. Just so maybe I could just put a little time-lapse on whilst I'm talking. Just suited to see the process. So we're going to be just loosely sketching and inking in our, our, our composition first. And then we're going to add some lines. And then we're going to add some shadows. And then we're going to add some color. And it's as simple as that. That's the sort of process behind it. For every single thing we do. You haven't got to be too accurate here. This is urban sketching and it looks lively and more alive and bursting if the Lucy you are. So this is one of them techniques, urban sketching, where you can't run from your own style. Your style will shine through and find you no matter what, you can't hide from it. If you're a neat person, you're going to be a neat urban sketcher. If you're very loose and quick strokes, you're going to be a very loose and lively urban sketcher. It's the beauty of this whole urban sketching is it blends to everybody style. I'm really excited to see your attempts at this. If you could upload them to the project and resources section. I can't wait to see them. But here you can see on the time-lapse, I added in a bit of sky color, decided against it in the end. Just wasn't sitting right with me, wanted more paper to show. It looked more traditional. But this is the sort of thing. I'm talking about this as urban sketching. All very loose and very free. Yeah, just gives great, great, fantastic looking results at the end. And another thing, if you start doing popular locations, people will want one. So be prepared to print them or print off and do it on some nice papers and textured paper. And you'll be selling, you'd be selling your prints of these, I guarantee it. This is a bit different, traditional urban sketching where you haven't got to go and sit for hours in a bustling city center, sketching away with your thousand pound iPad. Which in some city centers, which I've been in, is not a great idea. You can literally just snap photos as you're out and about. You go to a nice place with the kids. So nice zoo or something, or a nice urban area, cinema or a town. And just grab photos, try and look for the composition. You want the things popping out in a near view as you can see the tree and things like that. And it just adds to that thing. Composition gives it a bit of a feel. So good, fun. Take pictures everywhere you go. So that will make a great urban sketch. On the other hand, if you want a new live in a nice area, go out with your iPad and sketch it from scratch. That'd be fantastic. I'd love to see that. That's me. Yeah, So for this first-class, I just want to just quickly run over the composition. So if we look at another one, I mean, I did this one, actually got the whole process of this one on my YouTube channel, which is my YouTube channel is youtube.com, forward slash at hugs yachts. And I've got the whole the whole full process of this. One of me doing this one. Loose as you can be, a great fun. This was a gift to my nan, is our local town bridge, which she's quite fond of. So again, I did this, I printed it off on those texture paper. And it looks the business and people to this day have no idea. It was done on my drawing app. They think it was done on normal watercolor paper. They're clueless. So that's the beauty of this technique. So the first thing you want to do is to open up a canvas size. I'm gonna be using as a large size, 6,480 by 8,100 pixels. It may be a bit too large for some iPads. It's no problem. I got this one as well. 5,400. By 6750 pixels. So it's the same, it's the same dimensions. So it's, it's a great size, especially if you're gonna be sharing your work on Instagram. It's a great size thing because it gives you the maximum size. But in terms of layers, you're not really going to be needing 1 million layers to do this technique. It can be done really simply. So pop your Canvas open. Hopefully you've grabbed your brushes and your canvas now from the project and resources section, go to insert file. Pop your canvas down, spin it around if needs be. Stretch it out so it covers the whole canvas. Like so. And set that layer to multiply. And just take it down a touch if you want to see totally at two. So this is going to remain our top layer throughout the whole process. I will just quickly say when it comes to printing these off, remove that layer. So you've got your clean sketch. I let the real textured paper do its business. Don't print with this layer on. It, won't come out right unless you have a serious printer. Okay, so just remember that. So we got our canvas ready. We just need to find a reference because we're not, I'm setting my little studio in the kitchen here and there is nothing really great to draw. So as you saw me taking some little pictures from the Internet, from Google. So what I did actually was typed in urban towns. So if you can find anything on Google, but it's quite hard to find good stuff on Google. You'll get a lot of bumps. If you're typing urban towns or urban cities, you'll get, you'll get some good stuff like this where the composition is there for you already. So once you have your reference, I like to work out. First of all, I might go in straight off the edges with my composition. Or does it not work? And don't tell me my pen has run out as it Let's give it a little. Now. On rather you are joking. Okay. I'd like to work out, okay, whether I am go into the edges, my composition, or if I'm going to leave a gap like some of the other ones I showed you. So the way I would do that, if I wanted to just frame it into the center of a piece, I would get my selection tool up there. I'll go to rectangle. Let me just pop that back on. Go to rectangle and just work out roughly from this corner how far and you're gonna go and say right. Okay. Like so. I'd fill that in black. I will go back to my selection tool and rectangle. I would just very roughly I'm gonna be precise like that. It would remove that. And now I'm kind of giving myself a little frame to work within if I wanted to keep it. If I wanted to keep it within this little boxed frame area, which is nice if you want to add some splatters at the end and stuff like that. I think in this case for this tutorial, this is how I'm going to do it. So that's how I lay out the composition. We've got our, we've got our reference ready to go. So join me in the next part. I'm going to keep these parts is low on the time as possible. So it's really bite-size and it sinks in. For the next part, we're gonna be putting the ink on the paper and just putting in a rough sketch to see that we got our angles and stuff right. Okay, see you in the next bit. 3. Finding correct angles and perspective : Hello everyone and welcome to part two. We're going to just be laying out our sketch, our initial part of the sketch onto the canvas for the first time. So we're looking at angles in relation to each other. We've got this here, which is a convenient size because we're not trying to shortcut anywhere. It's basically what we see is what we're gonna be putting in. We're just going to have fun and do our best. Let yourself go. So I'm going to start at the bottom here, and I'm looking for this angle going up there and around. Not worried about detail at the moment. I mean, I don't worry about details too much in all my sketching as a whole, any way, I like to keep it quite loose. That's just my style. I'm using the side of the frame sides here to find my street down angles, which is quite convenient thing, would come in at a slightly different angle there. I, my sketching on the same layer, cos cos I don't sketch on the same layer as your frame. Go on a separate layer. Let's try that again. A little gate there. Am I going to become more of a flat angle there? For this bit? Loose? I'm being as sort of not a lot of technical craft going on more lively whilst still trying to capture the actual place. So we've got that roof going over there. Roof come in the same angle behind bit of a lip on that roof coming down, a bit of a lip coming out there. Back into more of this, this path we angle. Now that I'm like so sort of our vanishing points is going to be roughly there. If it helps put your vanishing point street. And at the start. I try not to get too technical with it. Just have fun To be fair. I think it works best, especially on Procreate. You can get too bogged down with all the tools that's available to you. And you're going to lose some charm if you've got a bit carried away. Let's put a bit of this building in here then. Like so, a bit of a roof coming down at an angle. Now there's some stunning. But artists out there, I got a couple of my Instagram that I follow. Traditional artists, one of them being friendly or family, needs something else. We put so much time and effort into his line work. That is really a joy to behold. And then he just slapped some watercolors over the top to give it a great look. There's others who are really loose. They do what I'm doing now and they just leave it at that. But I like to just do some parts which are detailed and mix it up a little bit. That's sort of angle there. Post this sort of building without and there's some buildings over here which I'm not going to get too bogged down on. So I'm just going to put some random shapes like so. You can see we got all foliage and trees coming out. So we're gonna be adding them. A tree and a bit of green can help with the final piece. Especially if you're working well with the colors. They can say allow you to farther it goes down behind here though, beyond this wall. Yeah. We haven't got to get every brunch. We're just loosely sketching in their composition. And to be honest with my style, I don't really differ much from what you're seeing right now. I like to keep it as lively as possible. This is what it was when I saw it. This is what I saw. I need an artist. You sort of, you're giving people a taste of what you see. And we all see stuff differently. Wall coming in a bit of a drop on the curb. Windows. Like so. Green pipe come out. So you can go as detailed as you want if that's your style and you enjoy it, and you'd like to take your time. Go for it. It'll look absolutely awesome. Whatever you decide to do. Some trading is going in there. So that's my sort of rough sketch. We knock out a frame off the composition of what I want. So now I'm just going to add in where I want my shadows. I'm gonna take this up to the max. I want a different layer. I'm going to grab a felt pen, C Sharp felt pen. Just go to a gray because I don't want to go full black. I'm just going to mark in where I want my shadows. So I'm going to be having a shadow there. One going up on the curb coming from this post. A bit of an angled one day, one day, all the way along. Okay, so shadows are quite important in sketch and they can really take your drawing to the next level, even though it's just a loose sketch, just some little hints that shadow will, this is all in shadow. They'll separate yours from the rest. So that's all going to be in shadow. Under there is going to be a shadow too. That's all in shadow. Literally loosely sketch it in any way I can see a shadow. Like so. So that concludes this part. We'll turn the opacity down on that. I've got my composition now. I've got my sketch down and I've got my width, I want my shadows to go. So there are people out there who will think right, okay. That'll do me. I'm happy with that. That's frozen water paint on it. That's fair enough. Yeah. You look great. I like to ink it with something that's close to my fine liners that I actually do use. So in the next part, we're going to be inking. 4. Inking with a loose and authentic Line art: Welcome back guys. So now we're going to be inking our sketch. So we are going to be lowering the opacity on our sketch we did. And lowering the opacity on our shadows too. And we're gonna be starting a new layer up above, taking it straight back down to black. You can go with deep blue black if you want. As long as it's nice and deep ink. I like to just go jet-black on Procreate, makes it pop out a little bit more, especially with the textured an overlay Canvas that we're using. So let's go and grab a pen. Give these a go, see which one works best for you. I'm going to be using this one here, the tech pen 812. I not gonna go too thick with my lines. I'm going to go about there. It's good to mix your lines up and get some thick and thin lines in your, I'm gonna go mad, but just add a little bit of variety. And I'm just going to begin. Little touch thicker that actually. If you're a fast, you'd like to do fast marks like so. So be it. Like I said, your style will find you. I like to go a little bit more purposely wobbly. I just find I can be a bit more careful whilst maintaining that sort of life that I'm after. We got some lines coming down, start Building. I got the lines about road coming in, step there, and another line coming in there. Then we've got, what is this slight edge on the road. Obviously, every country has got their own different styles with their drainage systems. So if you are drawing somewhere abroad, you're going to see a lot of things that's not familiar to you. That's all part of the fun. Bit thicker for these polls. I'm going straight down like so. There's another bit of a pole there. I know I've marked it there, but I'm gonna go a little bit lower. Straight time with that poll. It's a bit thick. So we got some foliage coming in. If you're ever bogged down by the minute details. A bit like me. I mean, what I simply like to do is just put a little, a little random shapes and maxing like the foliage. I'll just be sort of put in random shapes and lines and swishes and curves and whatever. It adds interest at the end. To see now it's not exactly what's on the photo. I'm just filling in gaps. Go back down a touch. This goes back around. I'm not just tracing it blind. I'm basically looking at the reference whilst I do with this. So if there's anything standing out, i'll, I'll grab it. Grab it now. Let's go a bit thicker and get this tree in. Shri and like so. Smaller. Just throw in some details. Angle because soil comes down. For this bit. Down. We've got a bit of a pole there which I missed on the sketch for I'll put in now. Every now and then if you could just pop in a correct angle, it'll just bring things back to reality. If you're looking at it. And you think I was way off, just get the odd one which is right. You can maintain that life then whilst being loose. Here, I'm not gonna get bogged with the details up here. So this is where I'll be. This is my personal style. You can, you can put details in here. I'm also trying to speed it up for the, for the class. Got that bit of a lip come in there. A bit of a bush. Going to go nice and small and my pen now and I'm just going to things like this, like Telarc, telephone wires and things like that. They're going to set your work off because this is detail that people notice. For some reason they people will notice these little wires and cables and stuff hanging. So get them in. Definitely, definitely get them in. So in a bit more random little lines here and there. And that will complete that stage. So that is just remove our sketch layer. And this is sort of what I like to finish with. You could leave your sketch layer on with your ink if you want it. So it looks great as it is. It all looks great to me. Honestly. I like to remove that though, and I'll be redoing my shadows with a multiply layer. So join me in the next part where we're gonna be going over our shadows. 5. Adding shadows to create depth: Welcome back guys. So I'm just going to be going over the shadow areas now with the same pen, but only on a multiply layer and a little bit tiny bit more neater. So let's open up a new layer and set it to multiply. Before I start, I just want to quickly inking because I've just noticed a bit of a road coming down here which I've missed. So on I just want to just get it and bring it back. It's a bit of a curve there. So just want to bring that little touch back. No harm done. Okay, shadows. I'm gonna be using my marker pen and this one is also good. And I'm gonna be going in with a cool, a cool blue or dark gray. If you hold the shadows on your picture, it'll give you an accurate representation anyway. This is the color I'm going to be going for. Just deciding which marker pen to use. I'm going to be using flat sharp. So like so. We've got this one which comes out there. That's got some points on the top too. So we've got this one which runs down across the curb. And we've got our you know, what you're thinking? I don't look any different to the last time you did it, but yeah. I'm just seeing it differently and I know where I am. That's why I'm redoing it. A couple of shadows coming over there. And of course this is going to be in shadow. Shadow, that's gonna be in shadow, shadow, shadow there. And we're going to add some shadows. Also randomly scattered all over the place. So I'm just going to be Tottenham in here and there. The undersides of these telephone poles are gonna be shadow. I know what you're thinking. Why is he using a marker pen? Yeah. Yeah. Yeah. Urban sketches. Main tool. In fact, I forgot to mention that when I go to Sketch him, because one thing that I take is a marker pen, like some capex or something, some Winsor and Newtons. The bottom of these trees. Like so. That's shadow. Happy with how it's coming along so far. I don't think I've ever done one and not be happy though. I just love everything about this style of art suits me down to the ground. Okay, we got some shadows. I'm just going to remove some shadows from where they're not needed. Like the site there. Maybe we've gone over a bit certain parts. I'm just going to remove them because we can. That's why. Just because we can. It's a bit on the end of this tree. I'm just doing some little bits and bobs like that. Can, it can set you off a bit of texture to the bottom of that shadow. Shadows are quite important. That's why I'm taking a bit of time on this part. And now we're quite happy with that now. So that's gonna be my shadow layer. And it's going to remain at the top. Underneath our, our main canvas texture. We can play with this to wherever we want it now. This is where we are now with this little scene. So the next process, in the next part, we're just going to be adding some paint and it's super fun. Just roll with it and slap colors on and we'll see what looks best. Join me next part. 6. Watercolour techniques and colour selection: Welcome back guys. We've shadowed and sketched an inked urban sketch to this point. So there's options available to you now, and it's gonna be down to your own personal style on how you color this. Urban sketches vary their styles same as me. So I'm going to show you two different techniques. First one is just, I say adding random color. It's not really going to be random. I'm gonna be adding cools and warms. With the warms being sort of where I want the eye to be drawn. So that being said, I just want to show this brush set. I can't provide you with these brushes unfortunately, but I can highly recommend them. They're not Trailhead their trail head watercolor brush set that I think it's called the Perfect perfect watercolor. I can't remember the exact name of it. I'll get it for you though. And they come with preset washes, which are brilliant for this. So we could just slapping at the back our cool colors because we want our mean warm colors to be the focus. So pop one down and distort it. I've just popped that on the multiply layer. I'm so good at this. So let's open up a new layer for our color. And we can put that down by there. And you can see instantly, it just adds a bit of class and a bit of a greatness. We can put a bit of pink in on a new layer because I want to move it by there. Let's just put a bit of pink. Like so. Because we don't really want that to be the focus. We want this area to be our focus. These are cool. This is our cool area of the slider. And we're sort of working towards our warm colors over here, which would be more saturated. Let's get a nice warm color. Put a nice wash. Somewhere like that. Let's take another one. This one's really good. It's got a nice warm orange coming off like so. You can get some reds. Like so. Maybe get some green, some cool green for the day, which is not really important. And then we can use some bluey graze too. I mean, literally washing with a watercolor pen like this. Just so some of it's got all of it a color. We can add a bit of green if we want to. So foliage, like so, we can add some splatters and some frills if you want. What I like to do is add more black parts. So I like to go in with some really heavy deep grace and get them get them again. Even darker. Actually. Don't be scared of the dark parts. We don't want it to wash out too much to our line work, especially with what colors, they're not very quiet. Oh, what's the word? Opaque? Is it compared to our dark inks? So we can just sort of a bit of that. Maybe go in with our alcohol marker, adding some small angles and lines. So that's one way of doing it where you're just sort of randomly adding in colors and drawing the eye to a specific point using the washes. There's another way which we take a bit more care and we try and color it as we see it. So we can use a watercolor marker for this. We can just color it in like so why is that? Okay, That's pop that down where it should be. Did I just yeah, I thought so. Just erase the whole thing. Because it wasn't on. We just it's actually still there. Okay. And we just color with watercolor pan. We can color pick if we want to. Like so this is sort of how I prefer to do it to be fair. Lots of grades in the areas are not really keen about. This part here is like a, I'm going to go more saturated than the photograph. Color in color it in like, so. It's a bit paler this building, but we've got the color on. Even though we've multiplied this whole section. You still get a bit of color on there. That's white circle, very blue and cool for this color. Mixing your warms and your calls nicely, it's going to look good. My orange and my yellows are gonna be my warms, my blues and purples and stuff. My shades are going to be the cools. Green is a funny one because it's kind of a coolish color. So it's good when it's surrounded by warm tones of brickwork and stuff like that. They're welcome to occur. We shall go darker. I got a bit of foliage going on there. Lots of foliage. Road. As to the road, this is more of a sandy color, this rim part. So we'll keep with the sandy color for this whole part here. Will go all the way up with that. And then we'll bring our blue gray road in. Like this. It's like Okay guys, I'm going to stop that. They're join you in the next part. We will continue this coloring process. 7. Directing attention with careful details: Guys, welcome back. Just want to keep the parts long. I want to keep them as small as possible. So small bite-size, the telegraph poles we need to get in. So we'll go nice and brown for them. So there's some very cool Like parts which I'm going to grab with the marker. Is it gotten that one? Just going to grab some some white parts. They're like so not connect the right angle for us on the eraser. That's why that was a bit wrong. Some cool parts there. It's a very red brick building in the back. I'm going to try and grab bar. Right? Okay. So the bottom of this house is actually off put in a little bit, goes a bluish color from there down. So I'm gonna grab that. I'm going to grab it there too. It's a bit too blue. Bit better. I didn't some blue now to the shadowed areas. Very light blue. I'm asked about it. I mean, if you wanna do the sky, you can get your water color brush out and pop it in. I like to just give it a bit of this and then erase with the same brush to sort of get some clothes. You could use my you could use my where's my clumpy fair brush, which is pretty good for everything. And you could make some clouds with that if you wanted to. Probably the breast and brush ever made on Procreate by the way. For me. So yeah, we could call it done there. We could add in some little ink splashes and splashes to give it some more with our ink pen. So we could sort of got full pelt with it. We can add more fine details if you want to, just to add a bit more interests, just random shapes, more to look at. It looks like you've spent longer on it and put more thought into it. But they're just random shapes. Actually didn't call that bit there. And you're going to add some watercolor splashes if you want to as well. Now, if you are lucky enough to own the trail head Brushes, wherever they are, There's some splatter textures on there too, which worked well. Always add a bit extra pieces. As you can see. Now a lot of people would be happy with a picture like that. It's an urban sketch and it's done on Procreate. So join me in the next part. I'm just going to show you the process again really quickly with a different reference just to make sure we grasp it. And I just wanna show you one more coloring method because there's one thing that I forgot to mention that some people like to leave some parts of the urban sketch untouched and uncolored. So where we have this, we could erase away apart. That's not that important. Maybe even all this, maybe all this whole area here we could we could erase that away and leave some just pencil work. Even this. The sky. I mean, I wouldn't have added the sky anyway to be fair, you see my last picture? Bbc, it just takes on a different sort of vibe. We can erase away some of that shadow that we've loaded on there. Obviously we still got our base shadow on as well. And so it gives it a nice effect which I like to look for when I'm doing my urban sketches, to leave some parts untouched. Like so. That's actually a tree which I've missed their nice, beautiful orange tree. And I'm sure you never missed it, but I did. I'm just going to put some splatters in there to insinuate that it's there. Join me in. The next part goes well quickly, quickly run through another, another reference. 8. Recap: Hello guys, I got a new reference up now. And I just wanted to show you something. This is the last one we did with the two different styles. So I wanted to show you a different one just to show you that. It's a very repeatable process. To your sketch pack, your ink pen. And as you can see, this reference is a wide viewed one. So we could either draw it like that. But if you don't want to and you want to draw it like this, set your reference finder to the same size and then try and try and work the best you can to get a bit of everything in like so. Okay, now I'm happy with that. I can sort of work with that. So again, we'd just go in with our sketch. So we would put a pot there, a bit of a brush there, there's a bit of a flag going on there. So another pot. I'm going to get this big tree in a big flower pot. Their spend. Pay special attention in particular to things like signs poking out of the thing there and get them in. Never leave them. They're quite important to the scene. Building there we got this building going up the front. Remember guys, this is my loose composition sketch stage where I'm just trying to get it to look a little bit realistic. Got that sign popping out with a giant I will sign popping off there. So we're going to keep that. And there's another one hanging below it. Then we got buildings. It's a building goes up tall when they're basically dealing with tree, tree edge. Being, I think there we go, this big flower pot coming into our view there. I sort of disappears off into the woods. A lot of greenery going on there on this picture. I haven't used the border this time, guys. I wanted to just show you that you can work straight to the edge if you want it to. Move and sketching. In my book, I like to leave a little gap around the outside for just flicks and splatters. So how I usually do it, I've gone straight to the edge here with this one. So I do that. Even this sign here which says To the north, add little details like that in it will set your work off big time. Somebody they're walking, dog. Sort of pop pop hurting. Some little tables and chairs. In the background there. Along the side. There's my rough sketch of this one. And this was a trickier one because it wasn't, the composition wasn't there initially. So we've sort of zoomed in. To find, to find a picture out of it. So I lower the opacity and I'd go over that then a little bit neater whilst looking at the reference. Another thing I wanted to talk about was number one, I want to talk about these brushes, okay. They're quite expensive brushes. You've got the whole set all three. The splatters are really great. Nice finishing touches to your work, which you can't really get when you're on Procreate. And the washes. Really brilliant. I particularly like this one, which I use a lot, adds a nice wet soaking look. So consider purchasing them if you can. Okay. Another one I use a lot. You're not just limited like you are with urban sketch and you can draw anything you want to, as I showed you earlier on in the video with my car, which was a little bit random. So Drew drew a car. The whole video for this one is up on YouTube. Take a look at that at youtube.com, forward slash at hugs the arts. And this is a little time-lapse of me doing that one again. Loosely sketch out the composition like I've showed. Going over it with the ink, slapping some color on using those brushes, I'd showed you. Some washes, some whites in a bit more dark and an epsem certain areas and signed it. I don't think I've even got the gold out on. You see, when you zoom in, people at close, they struggle to see that it's not a genuine urban sketch. Another one I've done, this was really loose. This one, it was just again left to a great effect. Again, super loose. A bit too close to be fair, that one started playing around earlier. And the latest one I did of my local town center, exactly the same process that I just showed you. So thanks so much for watching guys. Make sure you've got your brushes ready to go. You can keep them forever. And I hope you enjoyed it. Please share your work with me. I really want to see it. I love this art and I loved seeing it. So thanks a lot for taking my class. She has guys and if you could leave a review, I mean, an honest review. That will be great. Thank you.