Zentangle Project Pack No. 10 - Day 1

welcome to

project

pack

number 10 day one my name is rick hi I'm maria and we thought we'd start by recreating the original

zentangle

legend that came in the kit and so on page five molly designed this is me on page let's see what the pages are that are distributed l5 yes, you can see them l5 yes, bottom right and um, so what are we going to do, I'm just going to go over this and a lot of times it's fun to see how. started

zentangle

and how simple it was and how exciting these things were and of course one is the crescent moon, we always seem to start with the crescent moon and part of the reason we start with the crescent moon is that it's a good example of aura is tracing the line or the shape with a little bit of space in the middle, so I'm starting by placing these little ladybug shapes, dancing inside this shape here, so that it's towards the center of the shape.

I'm turning the book. As I go along, but I may not always, so feel free to take your time and turn the book around and I get a little exuberant in my interpretations here. I always find that Zentangle can take you to different places, when, when. Opportunity arises, so one of the things we talk about is deliberate strokes, so you'll notice that a lot of them, especially the strokes are not incomplete, they're just very deliberate and here goes Maria, I don't think. we have some sketchy things right they are very deliberate uh with a purpose uh strokes like Rick said so this is the first aura surrounding these beautiful black ladybug ladybugs and uh already it looks really cool just yeah if we shaded that would be a cool thing, but wait, there's more, you know, and part of the beauty of the aura is that you don't need to figure out where to place the stroke, you're just echoing it or the aura is the shape that's there so you can really get lost. and concentrate on putting the ink on the paper and as many times as I've done this mess it always seems to come back to it and find its way onto one of my mosaics, huh, but maybe a little different each time, which is really how it should be zentangle, yes, so what we're showing you is what the structure is like, it's how these patterns are put together, but it's not like you should imitate the exact way we draw these patterns or these. tangles and that's the point, as we said in the introduction and we encourage you to listen to that, if you haven't, is that this is a book about you creating your legend.

It's great and I always go and add a little love, you see. I go back and touch up little things and even out a line, so this is a book from one of Maria's old diaries, more like a portfolio and I bought it on my trip to Venice and it's a beautiful handmade book and this is one of the first things I did in the book and this was done in 2001, about three or four years before zentangle came out and, by the way, what you just saw was a Christmas card that was made a year ago, it's a joke so if you go back and watch it you can find out find out so this is early uh well it was early it was early uh crescent moon so the next tangle is a really easy and fun tangle called mist and it basically uses aura and uh you can see that I'm adding a little waiting there, a little waiting, but it doesn't have to be that way, it could also be simple, so many of the original tangles have developed their personalities, some have. they changed their names, I think the original card spelled it m-i-s-t and he decided to change his name to msst at some point in the story.

Oh, I didn't know I thought it was always like that, but I stand corrected, no, when I looked at it it's like oh, it was missed, okay, I thought so, I thought I knew, but I missed it and you missed it, yeah, so this is the next one, it's a tangle called circus and it's x-i-r-c-u-s and it starts with a nice and beautiful. x in the middle corner to corner of whatever your section looks like, it doesn't have to be a square section, it just happens to be what we're working on and you'll notice that these first three so far we're Using the aura and the gap is more or less the same, it doesn't have to be, but just as a texture it's one of the aspects that you can adjust as you tangle so that the auras go on and on and you'll notice how Maria was rotating the book back and forth and we're going to do this in all four sections and it's simple and elegant.

I love how we can take these things and um and just have fun with them and you'll see that even there she's waiting a little bit. I'm realizing, well, it's my natural tendency to do that, but how cool is that. We'll go back and shade these, uh, while uh, after we do all the tiles, all the tangles and this is a simple tangle called flu f-l-o-o and it starts with just a curved line with kind of a dot at the end and it's probably like the pre cursor to muka, which was a little bit more sophisticated and again you'll see the aura coming in so the basic shape is set and then aurating that shape and you'll see that Maria drew behind the first one so it's kind of very and I like that uh um the darkness of that little end on that tendril there is a nice contrast that's different from mocha right and they just grow where they want to grow and as you get used to it You'll get an idea of ​​how they want to fill the space.

I think that's the key to zentangle. You have to read their entanglements and allow them to direct you correctly and as you do them you develop a relationship with them and you come to understand, you know their tendencies, their desires, who they play well with, who their friends are, it's fascinating who doesn't. They like it, so the flu flew, now it flew, its phone flew, so this is my version of graphics and you. I can see that it's actually a simple tangle, it starts with a zigzag line like the zigzag I can make and again with the aura you can see how important the whole concept of aura is in zentangle, it's in pretty much every tangle. and you'll see it in nature too, so it's one of our favorite analogies, whether it's ripples in a pond or rings in trees or growth rings in shells, everything is aura and I think the origin of this was at the time when I spent a lot of time looking at financial charts and with their zigzag lines and this became the inspiration for this and you'll notice how Maria fills those orbs so that they're really stacked and squished against each other, I think I like to do it that way because it's a little more unexpected than the circles that sometimes stand alone, but again you can decide that I just want to put regular circles that have a little space and then fill the interstices with some color or whatever these are the types of personal choices that everyone takes this is the way I tangle not good bad everything is subject to your personality so it has its own each tie or each tangle has its own DNA but it's like no two plants are exactly alike so here we go , when we originally did this unraveling we called it skoodle and somehow it changed, I don't remember how that happened and it became prana, uh, but it's basically the same thing. tangle and, you know, we were young and exuberant and excited about things and we probably didn't spend much time with the history of things and also prana has that little inside joke about how yeah, it's the season and spring and all that, TRUE? and again with the aura just aura in a spiral which is essentially one big aura, right, and then every time maria reaches another one, it essentially stops, so it's that recoil effect or hollabah that we'll get to shortly. rhythm, so except for some tangles like at the beginning of the circus or sometimes with bales, you don't see many tangles with the lines crossing, colliding with each other, so I think you left it alone to give it a little bit of me like. chalk line on the right, um, I feel like sometimes, um, you need to know how you would work a rope in a tangle like this and kiko is a really cool tangle, it's very meditative, you have to pay attention, you know, and I usually tend to make one. two three four is a good rhythm for me, but you can do five, you can do three, it's all up to you and turn the tile back and forth each time and it's that pretty, one two, three, four, one , two, three, four, so this is like a basket weaving of um or well, any type of weaving, even cloth, if you wanted um, and now we're going to do the opposite, we're going to go and the beautiful part of this is that you will do it.

We'll see other people make the same tangle throughout this book, so we won't just make new tangles, we'll look at them in different ways so you get a chance to see how other people do it, but look at that lovely texture and the slight curve too, yes, accept that curve and that unevenness because if it were straight with ruler lines and stuff, it's not really that interesting, but this gives you that feeling of wow, this was hand drawn, this was knitted by hand or turn it over and do the same. One of the advantages of turning it like this is that your hand doesn't cover the marks on the side to get a good frame of reference, you just want it to be comfortable, yeah, so the point is you know that the whole obsession, if you will, of turning it The tile is largely for your own comfort, so you can use your comfortable muscle groups for whatever movement you're doing.

Kiko, yeah wait you see the shading on this that's really what makes it how fun look it's like a tapestry it's like those hot pads people made for their moms oh I used to do that on that cord with the elastic oh those were cool okay so this is another uh The original mess from when we started is called floors and it's actually our kitchen floor, yeah, so we're looking around, you know, from left to right, up and below, and this is what we saw in our kitchen and we'll show you. in a minute, so you make a grid like a normal grid, you know, up and down, and then you're going to add a diamond shape, that kind of, uh, uh, how would you say it caresses the intersection of the lines? ?

So this is one of those tangles where the lines overlap, but because that part is solid, it has this, it just creates this beautiful pattern. Now, this is you, you will see this everywhere, you will see it in the fabrics, you will see. in floors, you'll see it in carpets and in architecture, it's pretty common, but people always come back to it because it's so striking, you know, like a checkerboard pattern, it's so deep, you know, deep black on white, you can see it I keep Going back and adjusting the little diamond shapes so it's there you can see how we were inspired by that because it's practically in your face so that's the kitchen stove and the uh and the floor the floor infamous that actually Maria, you put that.

I died, it was when we first bought the house. I couldn't afford to hire anyone because they were going to charge me a lot of money that I didn't have, so I decided I could do it myself and that's how it would be. It was so worth it for someone else to do it, it was a lot of work and this is another mess, it's called static and it's similar to uh circus, but let's get to the graphics, sorry, the graphics and how it starts, how it started again. a big static in the middle of the section and then the aura is your friend and find the way that you want to hold the tile when you make those strokes and this is if you take your time and really pay attention to this guy.

It makes your eyes go right, yeah, well, it depends on how you turn it and then how you shade it, you know, static, it is what it is, it's, uh, it would make your ears move and it would make your eyes move. moved well and part of what we were working with in our first tangles were things that well, I couldn't do that well, everyone looked at it and said well, this is something I could do and this is a great example of Knightsbridge, part of the Reasons for calling these made-up names is that we didn't like this one, we could have called it a chessboard I guess, but then you would assume that the lines would always have to be straight and they would always have to be perpendicular, but no one knows what. a gentlemen's bridge seems right, so a gentlemen's bridge as simple as it is, you have to pay attention to what you are doing, especially if you start following some lines that are not necessarily parallel or perpendicular and you could lose your way and I and I don't I can say this enough and the way you focus on this and make them all the rest is that the black sections will kiss in the corners and you can see that little thing if, on the other hand, you try to skip everything, skip all others, it never works, I can't tell you that often and it might work for you, but it doesn't work for us, but even you know I did it on something else recently and I was wrong. went up, yes, yes, and of course I recovered because zentangle you can, but if you want it to work like that you have to pay attention to them kissing in the corners, simple, beautiful, elegant and the reason we chose that name for that, Oh. here's a great example, oh yeah, I did the newel, I painted the newel post in our foyer, uh, no one else would have done that right, but it's one of my favorite things and it matches the floor she did before.

I'm a big uh like a tower right yeah and hollabah I'm going to let RickWe talk about Hollywood so we usually teach Holbaugh second because he has the other main principle along with the aura that's drawn behind it so look how that first board, if you want, the second board just goesbehind him and because we don't do much. of crossing, except in some of the grid patterns, that's how we put tangled elements together in a lot of our tangles and you'll see this in nature and a lot of the way we tangle the patterns that we tangle are inspired by nature. how she's drawing behind, literally, lifting the pen to figure out where it would go properly, so if you look at the branches of a tree or the leaves, uh, nuts or leaves, yeah, leaves or blades of grass, they're all drawn behind, no They are woven and this.

This pattern was actually inspired and shared with us by Nick Hallibaugh's husband Molly, who is a woodworker and this is something he had done for many years and it's funny because this is one of my favorite patterns because it's not something I would make. and I appreciate it and chaos is the path chaos is the pattern this is called poke root again one of the first and I remember the day we were walking we were taking a walk downtown and on the side of the path there was This big weed growing in the sidewalk was just spectacular and the colors were bright magenta, beautiful magenta and I said, ah, let me in.

Rick took pictures and I came home and said I can work with this, so he explained this to me. I know all the origins of this beautiful plant that, um, it's medicinal, right, yeah, you have that herb. I'll see if I can find the image and overlay it here, but that's another example and we're. Looking at this is how we approach tangles is not reproducing a poke root botanical, but looking at the internal elements, what are the elemental strokes, what is their structure and we call this or that, that is the process of how we create the tangle. deconstruction, so we get a little bit of inspiration and then we mess it up instead of drawing it right, oh, and this is called fescue, which again starts like the other one I did before and it's even simpler, uh, and it's just kind of grass, something like a weed that would probably invade the alfalfa sprouts in your garden, this is what it looks like and it's simple, it's great for kids to do at first and it's encouraged for anyone just starting out. unexpected and not what you would consider a pattern, but add this fragile life to your mosaic that's like a newborn, right, and you can think of these squares and shapes in this book as those little, you know, cubes that are in a game of watercolor and you can take them and mix them and you can make them light or dark or with a lot of water or no water or little water, so this is called a drink and they are really just circles and even saying the word circle they are rounded things and they don't need to be or they may be a little off the circle uh but they connect together as elegantly as soap bolts um I put a little thread on this so I could see that we showed a few different interpretations of this and I still use tibble all the time you can use it in the background , you can use it in the spaces created by other tangles and that's one of the reasons we often say Don't make your initial shapes too small because you might get inspired, it gives you the option to add other shapes inside, so I'm making this drink adding half drinks around and then putting smaller circles inside and that gives it's another whole dimension again, soapy soap the next time you wash the dishes you just look very closely at the soap sets and how the bubbles come together great and you get it, It's this idea of ​​you know, well, now we can make circles and in this one we can put something inside and you'll see what Maria does with this.

Again, this one looks similar to the first one, but just putting them together really, really tight, so if you plan on filling them, just make sure you put them in. They need to be large enough so that there is room to place the filling. I like how you stay away from him. Look at it and then go back and add a little bit so that little tiny circle becomes a spectral highlight there. We actually did this in the first one, so again the idea is to look at something that you normally see, but look at it with the idea of ​​well, what's the pattern in this?

What is the pattern on the sink? What is the pattern in soap games? and the funny thing about that statement Rick just made is that eventually you start to appreciate all the things you took for granted, you never saw who would look at bubbles, things you would never look at twice, manhole covers or o Some people took the time to making patterns on things and decorating them or even like uh I'm trying like moldings or you go to a museum and you'll end up looking at most of the frames because they're so The patterns on the frames are so beautiful so this tangle is called flow and It's really cool for many reasons, one is that Marie and I do it very differently, but what is the origin of this man?

I'm an artist letting some of you know. and I, the only teacher I had in letters, his name was michael sull and he teaches pointed pencil and he taught me this pattern and he called it filigree and it was used to embellish letters and you can, we'll show you in a minute, how that could work, um , but I was fascinated with this pattern and that came up quite a while ago, I learned that, um, it was exciting that I was doing more than just lettering with my pen, this was the pointed pen. and it was a lot of fun, so again those orbs, those shapes, that basic shape and then back up and this is another use of aura.

Once you have that basic shape, you can set that resonance around it and it just frames it so beautifully. So, thank you Mike Salt, thank you for teaching me that and so many other things. One of the things we hear a lot from students is they'll come back and say, I see patterns, and it's not like they weren't patterns. Oh no. so these are some of my letters an alphabet that I don't remember I think I made it for a company that designs boxes or something like that um oh and here's another one and this is another page from my book 2001 a space odyssey yeah um can you see uh I see so many different things like Knightsbridge and Crescent Moon there so this is our front door knob and I like it because it's the flow, that pattern at the top is more like how I make the flow but when I saw it I thought , ah, this is it. really cool because I had never seen an entrance with two locks and I thought it was romantic and I thought, isn't that so cool?

Oh, you're a hopeless romantic. It's amazing, I love it, I love it. okay and this pattern is called shattuck and it's named after molly and it's her middle name um and it's a pattern that I saw I think it was on a Japanese kimono like a fabric bundle a simple and elegant fabric pattern yeah and the uh, the use of auric on those are like dividers so you can really appreciate the pattern by just making a little space between the two strands of the pattern so your first few lines down are on a diagonal of course my diagonals are a little curvy but everything I do is a little curvy, but you could also make it straight if you wanted, it just has a different look, so I go back and forth with this curved line and then you work up to find the gap that is. an interesting concept of how it's done and it's very nice to shade because you get that up and down feeling, you get the feeling of the two strands or the multiple strands next to each other, you can see how the idea of ​​hollabah drawing behind and the aura plays through a lot of these tangles this is uh grass that you put together and tie well oh like when you make lavender well we have five elemental strokes and it's the point the line the curve the s the shape and the orb and this is basically just lines, curves and then straight lines, so you put those pairs of small shapes in parentheses and then you draw these lines in the form of a hollow bar.

You can see I'm doing my lines. a little bit a little bit almost like wavy uh adding little weights here and there and it just gives it a more natural look like more of a grass and now I'm adding some highlights this is something we call glitter or adding shine to those little spaces well it gives a highlight yeah , you see this technique in etchings or engravings where when they're digging into the metal uh where they want reflections like on a face or something like that they would use this technique and you can see how you can pull out that kind of blouse and make it look like okay, they're really compressing the fibers or whatever they are, it always just adds another one, very sweet, so this is a very dynamic and multifaceted tangle because it can go in so many different directions this is called bullets bullets and I don't remember why we call it that but this is a classic illumination pattern you see it behind illuminated letters uh in ancient handwritten manuscripts and it's a simple but very effective pattern see a lot of wood engravings and Renaissance paintings, um, so you lay out your grid and then you proceed to draw like this the rice shape, I don't know how else to describe it, every little stretch of line and it's a wonderful pattern to make.

You can get lost in it and it's almost impossible to make a mistake or anything like that. It's simple, and it's beautiful, and this is, it's basic bales, but there are so many things you can do with bales, which will show you. Now that you have this basic structure, now you can add different things inside of it and in this case it will just be a straight line and eventually a point, but look how Maria has that lovely character in many of the strokes. it's the lightness with which he holds his pen and that's another good reminder for everyone to remember to relax and take a breath, so that's one of the fillers for the bales, but you'll see that everyone does it a little bit differently.

You'll notice even in this book, we could do other versions, so this is called profit and I think a lot of the ones that Maria worked on and developed look like sea creatures. or shells or these living organisms is very, very amazing, so I made those first few strokes with my light hand, which means I'm not putting too much pressure on those shapes and then I go with my heavy hand and put these pearls almost look like, What are those normal freshwater pearls called? Yeah, there it's like o or peas that collide with each other and go well so you can see it's like the texture of a shell, you could have it.

I mean, I have it in that shape, but it could be a round piece or a square fish, but it's very effective, so for the latter we're making fins and fins. It's a reticular fragment before we had a particular fragment and it was one of the originals and it's quite simple and one of the interesting things about trematodes is that depending on how you do it or how you shade it, it looks different, it looks different and many of our entanglements share a similar inspiration. and there's not in a lot of them there's no really sharp edges between well, this is this tangle and this is that tangle and even the idea of ​​oh official tangles or something like that, our main goal is to inspire you to put pen to paper on this kind of method and particularly with this book is to say well, well, what is my style, what is my, what are my entanglements, what is my legend, it is like a guide on a map that you can consult and then take them as seed ideas and then plant them in your soil and watch them grow and they won't look anything like us any more than you look like us, so I'm on this one, uh, in particular, I'm not going to change my mosaic because I think you'd get dizzy. seeing me, but I encourage you to turn the tile when you're doing this right, particularly against the edge, whatever you're comfortable with, so we did the 20.

Wow, that's great, yeah, cap. your pen, cap your pen and now we're going to go over this with some basic shading techniques. I think the most basic way to do any shading, even at the beginning when you're working on your tiles. This is wrapping it around the perimeter to shadow it, to give it shadow, which would give it a kind of pillow effect, so you put your graphite and on this particular thing, I don't put the graphite on the black as much as on the white because the black doesn't need to get any blacker and you can see that look it just jumps off the page it happens so fast it's like wow it's a magical technique so she's playing here with some of the way it waves don't worry about the curves, yeah, it doesn't take much, this one in particular is just simple, uh, but when you come back with the tortilla, it just smoothes everything out, you can see that it's moved, yeah, that's kind of like that.

Great, so every tangle, once you know, once you do the same tangle, she could have done the perimeter of this, she could have just done the center, she could have done the x's and each one of them would have had a different impact. , so this way. I made this one a little bit different than what I usually do and I just want you to see all the different types of ways to add shades of gray, no sometimes it's not a shadow, it's shades of gray and what I did was I treated the square as a pattern and I went into each square and made the left hand the triangle on the left so you can figure it out yourself too and any tangles it has up and down like this, shading or adding graphite to the part that's next to what's on top, it really highlights that, oh, this is going over and under, so here on the floors we'll give a little bit of shading that they're not floors, all the graphics are fine and then lift thatcenter part up or a crazy road, don't go there, check this out, just jump off the page, it doesn't take much and that's a very good point, so it's not always necessary to do each one, just a couple here and there , that gives that wow, that's it, it really is effective, even more so if you had done each one well, so what?

What I'm doing is putting graphite at the top of each line, so if you can see well at the top left, if you've already turned it to the right, you can see that it makes it a lot more complicated looking at it in such a short amount of time. uh effort well and really take advantage of the curves of the lines as well and again with the flats there are so many ways to shade them, you could shade the individual elements, you could shade the perimeter, you could shade like Marie is doing here, so what is this?

What she does is she removes the grid and turns it into a stripe, which is fun, it's like it really is a magic wand, yeah, it totally changes the character and in this static there are different ways you can do it. you can do this and we'll show you in other videos, which is another good reminder while you're messing around, you're not done yet, your mosaic isn't finished yet and you can always go back to the graphite and the tortilla and emphasize and deemphasize and just sculpting it with the Knightsbridge shading is so dynamic that it doesn't need much, but I like to do the edges and quilt it so you can appreciate the white in the middle again, it's almost I'm sure you can reach out and feel the quilting, so in hollabaw I'm making each so-called boards.

I say dashboard because that's probably how it was designed. And I'm just getting started. starting with the top right one, starting with the first one that we did on the page and then going ahead and just adding something like a shadow to the right of each board, you know, in this push root, I'm going to do something a little bit different than what I usually do, I'm just going to do the background and bring it out, and that's also a really cool technique to get them to come to the foreground, okay, so you can see that I'm.

I'm dulling, I'm dulling my pencil because I don't want it to be pointy and I'm adding a kind of smiley face to the edge, the same edge on each of these berries. great technique, okay, and then with the tortilla you'll soften it, but you want to make sure you keep it and leave some white space there, because if everything is gray, you'll lose the contrast. Look how easy, it's a great effect. Isn't it so nice in the fescue? I think I'm just going to give it a little dimension at the bottom. You can see it again with the smiley faces.

You can not avoid it. You know in these. bubbles, you want to have the same effect, so you have bubbles, you have bronze eggs, grapes, grape soap suds, so you can combine the individual elements and then the perimeter as well, as well as this particular thing where I'm just going to darken the inside and make that hole as if it were going to be like that. You have to look inwards to find it pleasing and again, there are many ways to do flux, but this really enhances it gives it that sculpted look, so what she's doing is.

Another great technique where the lines meet in that type of crack, you can use them as an invitation to shade one side or the other in Shattuck. There are many different ways to do this effectively and I'm going to do one. Here's a simple way, so what's happening is these vertical lines are going to start jumping and she's putting a lot of graphite down there and you'll notice that you're holding both the pen and the tortilla at a low angle, particularly the tortilla and It. it will last much longer, it's very simple but effective and don't hesitate to come back in if you want it a little bit darker, you look at it and say I need more contrast and on Xander again.

I'm going to go under those rings and, uh, just give it a little shake there and then kind of on the opposite side of where the highlight was to put it in, not a little bit more graphite so you can really see those highlights of the impact. of those now in this bale piece, I'm shading to the right of the rice shapes and I just go in and smooth that out, it doesn't need much, it's a very busy tangle, so you find an element or a series of elements in the pattern . and then working with them throughout the pattern and that as you shade it and it takes on whatever consistency you make, the consistency itself becomes an element of the pattern and we don't look so much at the light source or the type of light, but rather at Alright.

I want to sculpt this properly, we call them gray shades because if we say shade too much, someone is going to step in and say where the light source is, but since it's a pattern, it's something completely different, you shade it as a pattern, so I. I'm adding graphite between the black squares and this is just one of the ways to shade this because there are some really good different ways, yeah, we have these two great examples and I think they're in the first book. zentangle book again, this was an early fragment of grid before we talked about it that way, so now we're going to take the book that I made and we'll look at it together and uh just because we want you to see the differences from one to another to don't think there's only one way to do it from one artist to another from one artist to another and from you how' I'm going to create your legend so let's take a look at that so I just wanted to compare this is Maria's who we just finished or that she just finished and then this is one that I did of the same length and you know a lot. of them, you know some of them are very similar, like the fescue, but in this one, for example, in this one with the static you can see the difference in the different ways it's shaded and what are the two different ways you can make aura so that as you go around a sharp corner you can round it even more or you can keep the same sharp edge so those are just a couple of the different changes a lot of things are pretty similar one of the biggest differences They are the ways that Maria and I flow, so this is Maria's flow, the way she learned in the manuscripts and then mine, it looks like the same principle but with a totally different look, you can add different backgrounds in the holobar, anything else you notice, babe, um. different different uh pieces like you know going around on that one you did pretty much the same thing um and the fescue the same thing uh on this one here you did the pillow effect where I did the individual squares I guess you'd say here I saw a plate I tried to add some shadow outside from the box yeah you did that here too around the knights bridge and in fact the knights bridge was so bright I didn't even want to shade it so I just shaded the outside to make it better and then here on the shattuck you can See I shaded the individual elements a little bit, so it's just an idea and it's not so much about shading, except the point of showing this is to show that it's about you developing your style and your legend and and we look forward to spending a few days with you, so thank you for spending time with us and see you tomorrow, see you tomorrow, bye.