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In this lecture we're gonna be talking about something that's really important when it comes to drawing
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the human form.
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So even if you're drawing kind of more cartoony type animation characters perspective is still gonna
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be a very important part of that.
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Now if you know how to draw a perspective like drawing a cube in one point perspective or a cylinder
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and two point perspective or something like that which is basically just where you have a vanishing
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point you have a horizon line and then you have these lines that go off to that vanishing point.
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So this could represent kind of the end of a street with a bunch of buildings on it or it could represent
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kind of a cube like this or something like that.
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And this is just some common and simple perspective.
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But when you're drawing the human form perspective can become so much more complicated than that and
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it becomes so complicated that you can't really just use a vanishing point for your perspective.
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You can kind of use that as a guide if you're drawing the the chest for example like this
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and then you're drawing the pelvis like this the maybe you're drawing a cylinder between those to connect
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them are probably a little bit bigger the proportions are kind of off.
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But my point is that you can't just do perspective for each one of you you can't just have that going
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off to a vanishing point.
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And this one going off to a vanishing point and these going up to a vanishing point it it just would
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become so complicated and it wouldn't be worth the time.
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And so what we need to do is we need to kind of learn a series of tricks and ideas about drawing the
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human form and perspective because what we're really looking for is just trying to make sure that certain
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parts of the body kind of stay aligned all the time.
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So what I mean by this.
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Well let's go ahead and draw the body so switch over.
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Let's do it blue.
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I'd like to draw in blue so I'll switch that over to blue.
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ALEX Good.
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We're gonna do is let's go ahead and let's draw sort of a figure.
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So we're going to start with the head that now let's do a cylinder for the neck that now for this.
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Don't worry about your proportions the proportions aren't too important right now.
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Or we're really focusing on is the concept of perspective.
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So what we'll do is all represent the chest with kind of a trapezoid like shape.
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So go ahead draw the top surface like this
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and then what we'll do is we'll just kind of angled down a line like that and angle down a line like
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that for the front of the chest and then we'll angle down the line coming more straight down like this
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and we'll probably have it be about that big.
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So what we do here is we have one line angled off like that.
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So in reality this line is going off to a vanishing point somewhere way over here.
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And so what we need to decide is how How extreme do we want that Vanishing Point to be.
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So for example if I were to go ahead and draw this line like that on the bottom of the chest that means
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at the Vanishing Point is meeting if we draw those two lines it's basically meeting somewhere right
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about there which is really close to a drawing.
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And typically that's not going to be the case typically you're vanishing point is going to be like way
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off the page.
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And so what we want to do is we want to kind of angle this in but not too much.
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So it could almost appear to match.
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But as we get down lower what's going to happen is these lines that are gonna represent different parts
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of the body are going to become more and more angled as we move downwards.
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So now that we have that drawn in.
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Let's go ahead and let's draw a kind of a cylinder for the body just kind of draw
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shape like this for the waist and then we'll go ahead and draw the
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pelvis.
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So the pelvis we need to angle it like this.
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So it's kind of following the same angle as these lines up here
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then we can go ahead and draw the legs so for the legs I'm gonna go ahead just use cylinders for the
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thighs so legs will come down like this.
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And even the knees right down here they need to fall the same ones.
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So let's go ahead and check.
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So you kind of follow the same line like that.
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So we need to kind of draw that.
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And so from drawing that I can already tell that this knee right here needs to go down.
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So let's go ahead and race that out and we'll redraw it and bring it down further.
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So that's kind of stuff following that perspective and we can do just kind of a circle for the knee
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we'll do another cylinder
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for the calf
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again let's check to make sure we're following it and it's pretty close.
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But I could probably bring the this one down a little bit further and then let's go ahead and draw the
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feed in.
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So for the feet we still want to follow that same perspective.
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So kind of draw a line in like that just to represent the end of my feet.
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Great.
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Let's go ahead and draw this arm in so I'm just gonna go ahead and start by doing an oval like that
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then kind of a rectangle for the biceps triangle for the for the forearm and then let's go ahead and
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draw and kind of a wedge type of form for the hand.
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And what we want to do is we want to go ahead and draw a line going across like this.
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If the hand obviously when we're drawing a pose we don't want a pose like this is a very boring pose.
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But we always want to start off with the simplest of poses to understand a concept.
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So the reason why I'm drawing these armed super boring and straight down is so that you can see that
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when we go over to the other side if we draw this line across following the same angle this arm it needs
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to be kind of shrunken down a little bit
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and actually we probably need this part right here to be brought up because everything needs to fall
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that perspective.
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So if we draw a line from this elbow across like that kind of following that same thing the elbow actually
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needs to be more like up there.
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So we can go ahead and he races out and adjust that
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and this is what's gonna make your drawings look correct.
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When it comes to drawing in perspective so we can go ahead and draw this hand in so the bottom of the
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sand should line up at the same point as this hand over here.
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All right.
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Grace you can see that we're just kind of drew the simple geometric form of a body in perspective.
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So it's not a hundred percent correct perspective but it's close enough that it looks good and it looks
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real and that's what we want.
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That's where what we're really going after when we're drawing characters is we're just trying to draw
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something that looks close enough that people wouldn't notice it doesn't look incorrect.
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It just looks right.
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So let me show you one example before we start looking at photographs of places where people might get
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things wrong.
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So an example would be let's say the rib cage.
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I'm gonna say somebody is kind of laying down like this.
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Right and the rib cage opening kind of goes like this and when somebody is laying down that becomes
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a lot more prominent because usually they're waist kind of sucks and a little bit you get their belly
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button right there kind of curves up like that
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right then you get the chest going across the front of it.
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And since you're laying down or seen it from this angle you got to really see the roundness of the chest
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the pecs
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right.
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And so what's going on here.
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That looks good.
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We can also draw the nipples in because this is another good example is if we draw a line going across
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the nipples like this you can see that they're aligned in that direction and so other things so for
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example the bottom of the rib cage right here we want those are kind of lineup in that same angle as
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well.
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And they do and if you're drawing breasts you'd want the bottom of the breast line at the bottom of
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the pecs to line up all of this needs a line up until you get let's say down to the pelvis maybe their
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body kind of twist and their pelvis is kind of angled a different way like that well then those can
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be angled like that but you want to think of the chest and the rib cage area kind of its own separate
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part and everything kind of needs to be moving in the same angle the head is also its own separate part
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so maybe the person is kind of looking down at their body so all the lines on their face could kind
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of be angled like that or maybe more downwards each separate part of the body can kind of have its own
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angle but when you're looking at the chest so that's why we drew the chest as a rectangle type of cube
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here is because that's one sort of unit and everything on that the nipples the bottom of the rib cage.
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All of it needs to kind of be angled in the same direction.
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And so what would make this very incorrect is if we went ahead and let's say we drew the bottom of the
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rib cage on this side
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down like that it doesn't look absolutely terrible but it doesn't look right and you're drawing can
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look better.
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And the reason why it doesn't look right is because if we draw that line through there you can see that
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it's angled differently than the nipples which are all part of the same unit.
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So we want to make sure that that things are lining up correctly across from each other.
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All right let's have a look at some examples of photographs.
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So right here we have this lady and we can draw a line through a lot of the different parts of her.
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So for example we can draw a line through the eyes and we can draw a line through the corners of the
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mouth and from nostril to nostril and we can even draw it through the bottom of the chin like that we
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can draw it through the middle of or this point in the jaw and you can see that when we do that it all
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lines up on her head.
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Now if we start drawing it through her body we can go ahead and draw a line through her shoulders so
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shoulders are just kind of straight line across like that we can draw it through the bottom of her breasts
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and we can also do it through.
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You can't see it too well but somewhere right about here is where her rib cage is going to be.
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And so you can see it's right there as well.
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So it's actually a little bit slightly angled it's just completely straight but you can see all that
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kind of runs the same way.
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So the perspective looks good on it and yes the knees aren't completely lined up so it doesn't work
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as well but you can see in that example pretty well how the perspective looks good because it's a real
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photograph.
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And so that's what we're trying to achieve is kind of that real life.
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Look let's have a look at this guy.
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So this one is really good because we can kind of see it all going off to a vanishing point we can actually
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see one of these leading lines right through the barbell that he's holding so we can follow basically
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everything just like that barbell because it's kind of all in line.
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So for example his feet kind of go off to that Vanishing Point his knees go off to that vanishing point
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is nipples even go after that Vanishing Point they line up to that vanishing point his eyes they go
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off to that Vanishing Point as well.
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And so you can see that his whole body the top of his knees or the top of his thighs are going off to
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the vanishing point the bottom we can't see the other side of his rib cage as well but you can imagine
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that it's right about there that's also going off to the vanishing point.
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And so that's what we're looking for when we're drawing our poses we're trying to check and make sure
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that the perspective looks correct.
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So things that we know that should be in line with each other we want to make sure that they are in
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line with each other.
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All right.
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That brings us to the end of this lecture so if you're ever drawing poses just go ahead and post them
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to the Q and A session on the course ask if everything looks a line if the perspective looks correct
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and that will help you along and understanding how to draw your forms in perspective is by getting those
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critiques you're not supposed to the Facebook group and other students can help you and critique your
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work to help you along the way.
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Thanks for watching this lecture and I'll see you in the next one.
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