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Hello, everyone.

Havtza here.

Up until now, we focused on the basics of animation

and how we plan and draw our main action.

But we've only done that

with basic shapes

and very basic materials.

Now we want to add

some details to our animation,

because usually a character design

will have small additional objects

which are stuck to it,

such as clothing and hair

and might even have some additional

special characteristics

depending on what it's made out of,

for example, if your character has a clothing

made out of stretchy materials

or something like armor

which is very rigid,

they're going to be moving

in a different way than to regular clothing,

oh, then a character

without any details whatsoever.

We spoke about this subject

in the second character design video,

but the way that we are going to animate

each different part of your character design

is going to be different

depending on what it is made out of

and its shape and cut of clothing.

And if we're trying

to animate additional props,

which are not even alive,

we need to consider

what they are

in order to animate them

correctly as well.

First, and same as with

any other animation subject

that we've done until now,

you need to understand

the characteristics of the object you're animating.

You need to understand

what materials they're made of,

how durable they are,

if they have any inherent traits

such as elasticity, stickiness

or internal friction,

which affects the textures

and how they can move.

And this will help you predict and plan

how these objects

are going to interact

with the environment,

which helps you know how to draw them correctly,

for each pose and how to use timing

to show the characteristics.

Because you're trying to animate something

which is not alive

or something that has specific

properties to it,

you need to understand

how to show these properties.

This can be done by either

deforming the object itself

in a way that help us understand

what material it is made out of,

or if the object itself is too rigid

and have properties

which prevent it from changing

it's that look

you need to show how it affects the environment.

You can also play around with the ratio

of how much it affects

the environment as opposed

to how much the environment

affects the object,

To show the characteristics

of the object better.

For example, here we have three balls,

with different inherent traits,

you can see the change in the movement

and how I'm going to plan the animation.

The elastic ball will greatly deform

when it impacts the ground

and it will have a big amount

of acceleration on its way up.

So we're going to use

a lot of smear frames as well as give it

quick timing.

The second ball is somewhere

in between rigid and elastic,

so it transfers some of the force

of the impact into the ground

each time it reaches it,

making it deform only slightly

and have a much lower end

point on its trajectory on the way up.

So here I'm not deforming the ball

quite as much

and I'm using much quicker timing

because the overall trajectory is smaller

than the elastic ball.

The last ball is both heavy and durable,

and thus we will show its characteristics,

by the way it affects the environment

because it by itself cannot be changed

if we want to show that it is very heavy.

Here, I will not even bother

giving it an upward trajectory.

We want to sell the impact of the

ball with the ground as much as we can

by just shattering the ground

and letting the ball stick where it is.

When we understand the characteristics inherent to the object,

we can start and incorporate them

into the way that we animated.

For example,

your object can be quite solid,

but fragile if it hits from certain stress point,

building upon these characteristics, you can intentionally design

the movement of your object to showcase them.

So you actually want to create something

that shadows the

object of your animation.

Make sure to keep in mind the

correct volume of your object

when you are animating it

and the force in acting upon it throughout the movement

which make it change its

shape and position.

You need to make sure

that you're not accidentally increasing

or decreasing the volume of your object,

or that it suddenly changes shapes

without any causes.

Basically, you need to make sure

that you keep your object on model,

even if it's not an actual character

or part of the character's design.

When animating objects,

they're usually not

going to be the main focus

on your overall scene.

This is going to be the actual characters in it,

and the objects are going

to be just flavoring to the character

design or to the background design.

So they wouldn't be drawn

with the same amount of focus and detail

as the actual characters.

This means that you have to be very smart

and very effective

in the way that you show

the character characteristics

with the animation itself.

Basically, you need to exaggerate the animation

to show the properties of the objects

and the materials that it is made out of.

That being said,

you don't want to make the movement too exaggerated

because this might distract

from the main focus of the scene,

which is the character action.

Or it might even clash with the overall

animation style in the scene,

which can be quite jarring.

Also, you need to make sure

that your exaggerated movement

is making sense

in the context of the scene,

because the eye is naturally drawn to movement.

So you don't want to make something

which suddenly appears into your scene

out of context

and basically refocuses the viewer attention

on the small background detail

instead of what

is really important in the scene.

Just because it is moving

while the rest of the scene is static.

When you're adding your details

to your character

or to your background,

you need to make sure

that they actually match

the timing of the overall scene.

For character design details,

it's actually a lot easier

because the action is going to be related

to the character's action

and by either using the momentum

of the movement

to complete the overall feeling

of the action that the character performs

by giving additional momentum

to the details,

or by showing how the environment affects the character

using the clothing, such as with wind or water,

which changes the animation of the hair and clothing.

But if you're

having something like a background animation

or any other special effects animation,

it means that you refocus the viewer's

attention on this part.

Or if you're making something

that is very subtle,

you might risk the audience

not seeing it at all

and it being unnecessary.

So you really need to make sure

that your timing

and your object are being told

and animated

in the best way

that is possible to support the scene

and not just create something

for the sake of creating it,

when adding effects and objects animation.

Here, you can see that

just by giving simple shapes

certain characteristics

when I animate them,

I can convey something

which is quite easy to understand.

You have a very rigid cube

which is breaking upon impact with the ground.

You have a very elastic ball

and you have a falling sack of grain.

Now the animation on each

one of them is quite simple.

As you can see,

I don't take a lot of time

to animate each part of the movement.

But when I make a version

which is incorrect

or where the movement is still exaggerated,

you can definitely tell

that it is moving incorrectly

and it's quite distracting.

So when you're trying

to animate your objects,

make as many adjustment as necessary

to make sure that they fit

with your scene

and the style of animation

and not just look good individually.

Of course, when creating actions

we'll be using all the concepts

and techniques

that we've learned up until now.

Because we're animating single objects

which are made out of

very rigid material at this point.

We're going to animate them

the same way that we animated any other object,

with a solid center of mass,

which is more affected by the main action

and not the environment around it.

We're going to use

the ease in and ease out animation patterns

as well as the squashing stretch,

delay and overshoot concept

which help us visualize and

clearly show the animation of the object

that we're trying to make.

I'm going to show you

how we're using deformation

to show different types of materials,

with this example here.

I'll be showing you

examples of three different materials

with different amount of

elasticity in them,

and to demonstrate that I will be animating

three different versions of a ball

on a string.

Here, the materials

that we're trying to animate

is not the ball, but actually the string.

And the way

that we're going to showcase

the material properties

is by seeing

how it affects the environment around it

and how the environment affects it.

The way that we show the inherent

elasticity of the material

is not done by seeing how it looks

when it is in complete tension,

because this is

just the straight line that connects between the two

tension points in your object.

But actually, by the way,

that the tension is being released.

As you can see in the first example,

the material is very rigid.

The material itself does not have an inherent

elasticity to it,

and thus there is no additional force

changing the ball's trajectory,

resulting in a very mild deformation of the spring

because there is no release from tension.

The second example shows the material

with more built-in elasticity.

to show this elasticity, we will deform the string

a little bit more than in the first example

and show that it has its own

internal force of elasticity,

by the way, that it alters

the original trajectory of the ball

to create an effect of overshoot.

You can see here

that the release of tension in the string

is not uniform.

The string is still mostly

being held in tension

at the edge of the range,

but small parts of it

have their tension released.

And this releasing tension

is traveling along the string

like a wave,

starting from the point

further away from the force,

which creates the tension

all the way until the end of the string.

The last example shows

a very elastic material.

Here, the movement of the ball itself

is been very visibly affected

by the elastic force,

which is created by the string.

This will look like

a full deformation of the string

and we will use impact

frames and overshoot to give emphasis

to the placement of the tension points.

Similarly to the way that we animate

impact frames and smear frames.

Basically, at the point

where the tension is highest,

we're actually going to show

the elasticity of the string

by making it reach a further point

than it would have been able to do

then if it was just a straight line,

and when we're releasing

the tension of the string,

we're going to curve it

a lot more than we would have

if it was just,

then if there wasn't an additional force

which accelerates

the ball on its way upwards.

Basically, here we have a battle

between the force of gravity

which pulls the ball down

and the elasticity of the string

which accelerates the ball upwards.

This is what happens when you

have two forces

actively acting on your object,

making it constantly accelerating

and decelerate in patterns,

in opposing directions.

By understanding the properties

that we want to give the materials

and what kind of forces act on it,

we know how to plan our movement

and which technique we're going to use

to showcase these material properties.

Now let's see what happens

when we actually try to animate

our character motion with details.

This is actions and motions

that are created by the character itself

and not the environment.

So here we have a clear

trajectory of the movement,

but we also have

a changing contact point.

In these cases,

again, we need to take into consideration

the materials of the clothing

and hair that we are trying to animate

as well as the overall forces

that are acting on them.

Because here

the force is going to be

from the character movement itself.

So it's basically going to be affected

by momentum.

The same way that the complex action

is affecting the limbs,

as we've seen in a previous video.

But in this case, we also have

the additional wave pattern

that is created by the internal tension

of the animated object.

So basically what we're going to do

in order to combine these two forces

which are acting on the character,

is basically replicated the trajectory

of the character movement

into the trajectory

of your material movement

and have a small delay

between each one of them.

When I try and animate

details to my character,

I think about two things.

First, what is the trajectory of the character?

This is what I start with.

I do not animate the details

until I have the complete trajectory

of the character,

or if it's final timing done,

and then I edit the character details

following the actual movement

of the character.

So for example,

if the character is falling

like we can see here,

I'm going to make the materials

follow the movement.

Here, the tension

in the material itself

is going to stretch it

in the other direction of the movement.

So basically,

if your character is falling down,

your details are going to move up

because the character

is moving in a curve

when it's moving to the right.

The hair and materials

are going to move to the left.

And when it's coming to a stop,

they're still going to move

in their initial trajectory

because of momentum.

The materials are

also going to accelerate

and deaccelerate according to momentum

and we're taking gravity into account.

So they're always going to accelerate

faster on the way down.

The size of the material and details

is going to affect

the way that we're going to animate them

as well, due to two reasons.

The first is because the overall range of the material

is going to be smaller.

It's not going to have

as much opportunity to curve around

as with materials

which are longer and bigger.

The second is

because there is a much

more pronounced difference in weight

when the material is longer.

As I've mentioned before,

the weight of each material closer

to the originating contact point

is much greater than the weight

at the edges of the material.

So even if the tension point

is following the trajectory

of the character,

it's going to move much quicker

by the edges of the material

than at the beginning of the material.

As you can see with this example,

when the clothing material is bigger,

I have more opportunities

to fold and deform

the overall shape of the cloth.

And because it has more weight to it,

the overall trajectory

when the character is reaching

the edge of the movement

is going to be bigger and more noticeable than before.

Instead of having a small delay

because the material is reaching

the resting point

quite quickly, we have a much further delay

and the overall range

is going to be bigger,

but because it also

has more weight to it, gravity

is going to accelerate it

at a much greater rate.

The range itself is getting shortened,

so when your material is bigger

it's going to, like a single object

as we've done

with the smaller materials,

actually like a bunch of connected parts.

Here, we're going to

animate its center of gravity.

Similarly to what we've done,

we have complex animation.

What you want to do

is treat each part of the movement range

like an independent part

in the overall structure of the material.

Create different trajectories for each part

using the center of mass each part.

Even though the starting range

is going to have a trajectory

which follows very closely,

the trajectory of your character action

the middle and

end ranges of your material

are going to act differently.

And they're going to be affected directly

by the beginning part of the material.

So even if the initial trajectory

of the end part is much bigger

and theoretically would have stretched

a lot further than the character action,

because the beginning part

and the middle part of the movement

range are still going to follow

the character action

and pull the overall material down,

The overall range of it

is going to be shortened as well.

There's also a unique situation

that occurs whenever your character,

the action is actually a lot quicker

than what

the character design details

can handle,

which creates extreme

delay between the character details

and your character action.

In these cases,

the character details

are going to be stretched

and reach the edges

of the range of movement.

This is again the straight line

between the contact point

and the entire length of your material,

without any folds in it.

When this situation occurs,

we're basically creating a wave pattern

which moves along the material

very quickly.

And when the character

is moving very quickly,

it's going to lift up

from the initial position it was in,

and then be subject to air resistance.

We can see here with this example

that the character

is spinning very quickly.

Now the spin itself creates

constant falls in the same direction,

but because the hair is separated

into multiple smaller parts,

each one of them is going to

be affected differently.

So when the movement starts,

the drag effect is still pretty simple.

The hair is going to shift

to the opposite direction of the spin,

but when the spin is very forceful,

it's going to straighten it as well

and lift the hair up in two

different directions.

We want to show it by curving

each part of the hair

in the opposite direction,

but still falling the spin.

You can see here

that by extending the hair to the sides

will also actually increasing

the volume of the head, kind of.

And then as soon as the spin ends and subsides,

the hair immediately

starts falling down again.

At which point we're going to use a wave pattern

to show the overall movement of the hair.

Each part is going to continue

the trajectory of the spin

because of momentum.

And when it reaches

the edge of the movement range,

it's going to go back, which again

creates the wave

Because of hair resistance and inherent

tension of the hair

is going to go back and forth

until it reaches its final rest.

If you want to show variations,

with the character hair or with the force

which is created by the character,

the action

you need to make changes

to the amount of lift that your hair is going to have doing the spin

and the size of the angle of the hair in relation to the head spin.

A very important thing to remember

is that you need

make sure that each part of your hair

is originating from the same spot.

So when the head is spinning

and showing different angles,

you need to make sure that the hairline

and the overall length of each

hair growth is staying consistent

throughout every single frame.

This type of movement

is not actually unique

to have all the spinning movement.

You can use this concept of a lifting

and changing the momentum

and the wave patterns of your materials

for each action

which is too quick for your character

design details to follow immediately.

It can be doing fall, doing actions

or doing quick changes in direction,

but the most important thing to remember

is that your character details

do need to complete

their entire trajectory.

So even if one part of your character

detail is closely

following your character action,

the edges of your material

are still going to complete

their initial trajectory.

This is going to create

quite a lot of deformation,

so you need to make sure

that you leave enough time

for the materials

and character design details

to catch up to the character,

even when they outperform in quick actions.

Otherwise, you might risk scenarios

where the character details

don't have enough time

to shift angles

and drag behind the character action,

which going to make it look like the

details are stuck in place.

Here you can use the same trick

that we've done before

and just divide

the overall character design details

into different independent parts,

according to the range from the contact point.

And if you have multiple contact points,

you just need to make sure

that you connect them with the line,

as we've done before.

Now that we understand how we can use

material properties using tension,

let's see how we apply this concept

into actual animation.

First, let's see the examples

when animating objects

in a natural state,

meaning that the action

and the movement of detail and materials

is not created by the character movement,

by just by being in the environment.

This is what we're going to see

with wind or water,

and we will need to adjust it

accordingly, as we

are going to see right now.

First, what we need to do

is to find the tension point

which created the movement.

This is where your materials

are attached to a single point

be it on the character,

if the character itself is not moving,

or as part of the environment.

This is the easy part

because this is basically

what you can actually see.

This is a very constant point

that you can always refer to.

But your second tension points,

which actually creates

the movement,

is a little bit more tricky to figure out

because it will always be moving.

The first tension point is going to save

as your anchor and reference

for the range of movement

of the entire object

that you'll try to animate.

You just see

what is the length of your

object of animation

and make a half circle

surrounding the tension point

which shows you the entire range.

You need to make sure that

whatever you do,

you don't go over this range

because this is just breaking the model of your detail.

As you can see, the

closer you are to the contact point,

the smaller the distance

your material will need to cover

when it's moving in that part of the range.

Well, the further away from the contact point the material is,

the bigger the distance you need to cover.

Basically, the speed of the material

is changing along the length of it,

which means that each movement along

the material is basically accelerating.

An acceleration is equal force.

The second force, which is traveling along the material,

is the second tension point.

You can kind of imagine

that your tension point

is holding the material in a similar way

to that single anchor point,

which is what's creating wave,

which is moving along the material.

The tension point is slowly going to move

along the material

from the originating contact point

until it reaches the end of it,

while slowly accelerating along the way.

This means that

any type of movement

that you're going to animate closer

to the original contact

point is going to be much smaller

than the movement

that you're going to have

at the edge of your material.

This is true for any type of force

that is affecting the material,

be it wind or gravity

or even the actions of the character.

Any action that you're going to make on

the material is going to be much bigger

by the edges of it

than at the beginning,

because it has either its own weight

or just a bigger range of movement altogether,

which makes it so it can cover a much

further distance, much quicker

because it has less weight.

When there is a force

that is constantly acting on your object,

such as wind, gravity

or floating in water,

you're object is going to

move in predictable loops,

basically just by moving

the object creates

more tension within itself.

So it can constantly generate

new tension points,

which will create

sort of like a wave pattern

which you can animate

as a loop to save time.

The amount of tension

which is held within the material depends

on the inherent properties

and the amount of time

that the tension points

takes to travel along.

The material depends on the force

which is creating the tension in the first place.

The bigger the force, the faster

it's going to travel along the material

and the bigger the tension within the material is,

the wider the deformation

that we're going to animate

within the material,

same as we've seen in the last section.

Basically, when you're trying

to animate cloth

or hair or any other movement

which is very free

and moves in a wave-like pattern

you need to consider that,

you need to make sure

that the overall shape of it

is animated correctly,

and also that any small detail in it,

because this is where you can see

the tension and the force

behind the movement most clearly,

as opposed to just the smaller details

which are only helping it.

Basically, you need to make sure

that you're not breaking

the overall wave pattern

whenever you try to animate hair or cloth.

Especially if you're trying

to create realistic animation

because this is where you're

going to make sure

that you're taking the properties of your object,

such as its weight and elasticity

into account when animating it

and creating a coherent shape to it.

What I mean by that

is that you need to make variation

within your animation

and not just to have one slowly moving

tension point along the line.

The tension point itself

is going to move in curves

or accelerate or decelerate

in accordance to the forces

that are working on the material.

In the same way that we've done

with any other object up until now.

A lot of the time

you will see

people trying to animate hair or cloth

just by having one tension point

which is traveling with even intervals

and in constant

speed along the materials.

This is usually creating

very pretty animation,

but it's not very realistic

and a lot of the time

it would not fit the movement that

you're trying to create.

So let's say that you want to create variations

in your speed of movement

or the overall force and the direction

of the object being animated.

For this, you basically just create a straight line.

This will be your reference

and guide for the entire movement.

From this point, what you're going to do

is actually create some curves

with acceleration

and the different spacing,

which are going to be the trajectory

of the force that you're trying to animate.

Remember to take into account

both the actual force

which is acting on your object

and the actual characteristics

of the object itself

and how they're going to affect

that trajectory.

At this point, you're basically just trying to animate a ball in a trajectory

which looks good.

From here, you're going to animate the line

and curve it along

the trajectory of the ball

that we animated before

with the ball being the tension point

and you need to take into consideration

that when the tension point

is close to the contact point,

your material is not

going to be very deformed,

but by the edges

it is going to be very deformed.

But when you're animating

that tension points

closer to the contact point,

the ends of the materials

that you're trying to animate

are going to be

at the edge of the movement range

because we're holding

the rest of the material closer

to its middle range.

And when the tension point is traveling

closer to the material,

it's naturally going to rise up.

When the tension point is

reaching the end of the material,

it's still going to move

at the same trajectory

because of momentum.

But once the momentum is completely gone,

it's going start accelerating in the opposite direction.

So the curve of the material

is going to flip

to the other direction on its way back.

This is true for any type of flexible materials

that you're trying to animate

all is a one time action.

Keep in mind that slower movement of tension

points is to create milder slopes,

while quicker movement of tension points

is going to result in a deformation

of the entire object.

When you have more than one contact point,

or when you have multiple forces

acting on your object,

your material is going to have

multiple clashing wave patterns

which affect each other.

When we have multiple contact points

affecting the object at the same time,

each one of them is going to create

a wave pattern independent of the other.

But because they are still connected

to the same material,

it's actually going to create

wave pattern along a plane

and not just a single line.

We basically need to connect

the two tension points together

with a straight line.

You will see this a lot in flags and in clothing

with each have multiple contact points

and are connected together through the scene.

Here, what you're going to do is basically add additional lines

connecting between each

wave in the pattern.

You want to make sure

that both of them move in a way

that makes sense

and not completely destroy

the overall shape of the material.

By this, I mean that

if you see that

your wave patterns are affecting

the entire

the wave pattern of your material,

you need to reposition them

in a way that shows

the material movement clearly.

If you're trying to work with something

which is a little bit

more complex,

such as hair, which is composed

of many individual strands

which can move in independent direction

instead of cloth,

which can only move in one direction.

We need to consider

each part of the hair individually

because it would not be affected

by multiple tension points

because each one of them

is connected to a different one.

We have more freedom

in the overall shape of the hair

but we still don't want to make it

move in an individual wave

in many different directions

because this just doesn't show us

where the force is coming from.

If we have a change in the direction

of the force or with the strength

We need to show the overall shape of the hair moving together

because even though each part of

it can move individually,

they're still going

to be affected by the same force,

so there's no reason for it

to move in different direction.

But because we want to show

that it is hair, not cloth,

it's a good idea

to have some opposing wave patterns

which are still moving

in the same direction.

So as you can see here,

when they want to switch

the direction of the force, I'm

making some part of the hair

move from top

and some of it from the bottom

to give it a more rounded and 3D look.

But they'll still going to move

to the same direction.

And the overall shape of the hair

is still moving in a very coherent wave.

If your material is heavy or

by making the initial force are very weak,

you factor in gravity is a source of tension,

which is going to limit

both the direction

and the range of movement

of your material.

As you can see here,

by introducing gravity into the equation,

we have wider wave patterns

or we have materials

which almost don't move,

and the entire movement is conveyed

by the overall shape of the material

and not by the individual

waves, which created.

Another example of

forces that are going to affect

your character details is air resistance

or any other resistance

depending on the environment

of your character.

You can see that

with water and space, as well.

In these examples,

the characters of movement

and the environment

are going to clash with each other

and change the trajectory

of your material as it moves along.

Here you can see that

the cloth is hanging from the ball

and when the ball is moving,

the cloth is going to move with it

due to momentum.

Same as we've seen in the last lesson

and the character being affected by outside forces.

Here though,

because we're trying to animate

the movement realistically,

we're going to take a look into

what its resistance actually is.

Basically, a resistance is an opposing force

which is going to act on your object

depending on the object speed.

Basically, the faster

the object is traveling,

the more air resistance is going to

act on your object

and push it to the other direction.

So as you can see here,

when the ball is moving quickly,

the air resistance is affecting the cloth

quite a lot and it's making it so that the cloth is rising a lot higher

to the ball trajectory.

But as the ball slows down the cloth immediately starts to fall

because the force acting on it is not as big

as when the ball was moving faster.

Now air resistance doesn't

have enough strength

to continuously hold the cloth

at its maximum range.

Now the cloth is going to start falling,

but due to the residual momentum

in it, it's still going to hold to its previous trajectory

and actually overshoot the ball

when it comes to a complete stop.

Now, because of momentum and tension in the cloth,

it's going to continuously move

back and forth

when it's coming to a stop

until finally it's going to settle down completely.

Here, what we're going to do

is basically create a small curve pattern

which is slowly becoming smaller and smaller

similarly to the way that we did wave

the bouncing ball.

Whenever you're creating a movement

which is affected by the environment,

you need to take into account

all the forces acting on your character details,

as well as the force that the characters

themselves create when they're moving.

And by understanding

these concepts,

you're going to create

the most realistic animation

that you can have.

The exercise in this lesson,

if you haven't been following along, is to choose

one of the previous exercises

that we've made

and add additional details on to them.

For the details

on the exercise in Lesson 10,

you have a free choice

of material and design,

but for the exercise in Lesson 11,

it's best if you use the actual character

designs from our previous lessons.

Make sure that you get the proportions

and sizes correctly

and that you keep your volumes.

This exercise might be especially difficult

depending on the movement that you choose

to make with your character

If you see that you are struggling,

you can either change your character

motion or simplify your character design

to make something

that is more manageable.

The important thing is to make sure

that you convey the materials

of your character outfit correctly

and that you can keep your details consistent.

And again, same as any other exercise,

try and keep your sketch

as clean as possible

and avoid digital in effect.

For extra difficulty, make an additional character design

and try an animated as well

to experiment with different materials

and clothing cuts.

Make sure that you're still conveying

the correct motion and movement

with the new materials and cuts.

To recap,

in this lesson

we've learned about inherent characteristics of your materials and objects

and how they affect

the way that we're going to animate them.

We also learned about tension

and the way that it's going to affect

how much deformation

we're going to add to our materials

to show its characteristics,

as well as how to recognize

and use wave patterns

to show the movement of both clothing and hair

due to environmental actions,

or your character actions

using the drag principle and tension points.

Next lesson, we're going to talk about effects in animation

and how we're going to using

similar wave patterns

and material characteristics

when we try to animate effects animation,

which does not have a coherent shape.

Thank you for watching.

And see you next time. Bye