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#264 Logo Inspired Pottery w/ Delvin Goode
47 Plays2 years ago
In this episode, we are introduced to Delvin Goode, a talented artist from Florida State University who transitioned his skills from graphic design to pottery. He discusses his innovative approach to pottery, using stencils for unique designs and maintaining simplicity in shapes. He talks about his journey of overcoming fear of failure, an insight he gained while earning his MFA. He shares his process of using vivid, opaque colors on pottery using an airbrush gun and his recent explorations into slipcasting and stencil design. He urges fellow artists to create works that speak to them and discusses his experience as a speedball professional artist. Delvin emphasizes the importance of embracing failure and learning from it. You can learn more about Delvin by checking out his instagram @dgoodeart
Top 3 Value Bombs:
1. Embracing Failure: One of the main takeaways from this podcast episode is Delvin Goode's advice on overcoming the fear of failure. As he earned his MFA, he realized that failure was an integral part of the growth process, and not something to be feared. This insight has helped him in his artistic journey and is a key message he shares with fellow artists.
2. Leveraging Different Art Forms: Delvin's success as an artist is not just due to his skills in pottery, but also his experience in graphic design and other art forms. His ability to combine these disciplines and skills has allowed him to create unique and recognizable works of art. This highlights the importance of cross-disciplinary learning and exploring different mediums in the pursuit of artistic growth.
3. Finding Joy in Creativity: Delvin's pottery is inspired by the joy he hopes to bring to people. He believes that every piece he makes is a reward for being an awesome human being. His approach underscores the power of positivity and joy in creativity, reminding artists that their work can have a profound impact on others.
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Transcript
Overcoming Failure in Creativity
00:00:00
Speaker
I want people to smile every time they look at whatever graphic I put on there. That series where I started trying to figure out how to make my work look like my paintings. Biggest obstacle I think was getting past that resistance to fail.
Introduction to 'Shaping Your Pottery'
00:00:17
Speaker
If you love pottery and want to take your skills to the next level, you're in the right place. Find your own pottery style right here on Shaping Your Pottery with Nick Torres. Let's get started.
00:00:30
Speaker
What if you could take the skills you have learned outside of pottery and apply them to your own pottery? What is up Shaped Nation? This is Nick Torres here and on this episode of Shaping Your Pottery, I got to interview Delvin Good and Delvin did exactly what I just said.
Interview with Delvin Good: Graphic Design Meets Pottery
00:00:45
Speaker
He took his skills from graphic design and other art forms and he applied it to his pottery to make some awesome logo pottery.
00:00:53
Speaker
In this episode, you will learn how Delvin makes his awesome logo pottery. You'll also learn about using stencils to help you create these unique designs. You'll learn about keeping shapes simple. And finally, also learn about getting past the resistance of failure. And there's so much more this episode. I hope you guys enjoy it. I'll see you guys in there. Delvin, welcome to Shaping Your Pottery and share with me what is something you love besides making pottery.
00:01:22
Speaker
Oh man, so many things. I would say family. Family is probably the most important thing besides pottery. Yeah. I love it. So tell me the story how you got started making pottery. Oh man, so my pottery journey was a little funny. I was a graphic design undergrad at Florida State University and hit the point where they said I had taken enough credits to get my graphics degrees trying to do selectives.
00:01:50
Speaker
Being the guy I was at the time, I wanted to have the most fun and be around with most of the ladies that I could. Nobody suggested to take wheel throwing because it was right in the middle of all the girls' dormitories at the time on campus. So I was like, yeah, I'll go take a wheel throwing class. Why not? That sounds like a good time. And long story short, it was the first powdery form that I ever tried that I absolutely sucked at.
Artistic Growth and the Role of Education
00:02:17
Speaker
I was so bad instructor even gave up on me at one point even told me he's like you just you're bad like this just hang out in the corner on your wheel do your thing for three hours of class we'll see at the end of semester so yeah that's that was my start into pottery I love that so you contribute your growth as an artist to attending the MFA program at Fort Hays St. University tell me more about this
00:02:44
Speaker
So Four Hays, Four Hays was awesome. So when I went to Hays, I was in the military. I'm still in the army actually, but moving all the time, moving every one to two years. So I needed to find a master's program because I needed a master's to continue to progress in the military. And I wanted to try to get in in the ceramics because, you know, rewind it back to my time at Florida State. Like I didn't take it serious, because it's from that teacher and everything.
00:03:12
Speaker
But I did end up taking it seriously, eventually towards the end of that semester and ended up teaching and all that fun stuff. But I never really gave it its due diligence before I graduated undergrad. So I wanted to try to find it now, years later, removed a lot more mature. I've got a family and all that stuff and wanted to give the craft its due diligence.
Developing a Unique Art Style Through Problem Solving
00:03:32
Speaker
So I was like, I want to do it in ceramics because Army didn't care what I got a master's in.
00:03:37
Speaker
And I was like, I'm going to take 10 minutes and try to find a university that'll let me get a master's in ceramics and not be present at the university. And I was like, I'm just going to, well, I said, I'm going to give it 30 minutes. That's what it was. I'm going to give it 30 minutes sitting at my desk. I'm just going to make phone calls for 30 minutes. And if I can find it, because I never heard of it, but I was like, I'm going to try. The second phone call I made was Fort Hayes State University. And the instructor picked up the phone, Linda Gantstrom. She picked up the phone and she like submit.
00:04:06
Speaker
So I was like, great, you know, I'll do the submission and we'll see what happens. And that program and the way it was constructed, the way you do your assignments, just the whole setup for the program allowed me to be like who I am today with D.G.I.D. Art. And then now I'm working for Speedball. It's pretty awesome. So how did it help you with developing your style of pottery?
00:04:32
Speaker
So the way they do the assignments, and I think it's based off of that, and I still do the assignments, not assignments, but I still work my projects to this day like that, and it's called problem statements. And at first I was a little confused my first semester. I was like, problem statement. And it's all about, you know, you have a lot of leeway in the curriculum as far as what you produce each semester.
Embracing Failure in the Artistic Process
00:04:54
Speaker
And it's all about solving problems. And so,
00:04:58
Speaker
It was assignment after assignment after assignment. And then for me, my art style that I currently do right now, heavy graphics, everything, that was one of my problem statements is how can I make my ceramic work look like the paintings and all the other commission artwork that I was doing at the time, like cornhole sets and water bottles, because I have a huge painting background. And I was like, I want my ceramics to look like my paint work. And that was one of the problems that I solved in the class.
00:05:26
Speaker
And there you go. That was the beginning of Deacon art, ceramically. Like, yes, now I've figured out how to do this. And it was all because of that curriculum pushing me as an artist that way.
00:05:38
Speaker
So we're gonna talk more about your pottery in a little bit, but for now, what is something you learned while getting your MFA that you still use today? Don't be afraid to fail. Like failing is okay in the program. It doesn't matter whether it was successful or not, you needed that process of going through that series of work to get to the artist that you are. Failure is 100% okay. It is a part of the growing process and document the failure.
00:06:06
Speaker
as well like it because I started doing pretty robust sketchbooks during this program as well and by documenting those failures like there'll be like a piece that I want to do like now that I did like maybe two three years ago I'll go back and look at my notes like oh hey two years ago you did this this was wrong you remember you wrote it you wrote it down most of the time I'll even draw a picture of the failure like oh this was this is how this went wrong and then now I pick up from those lessons learned
00:06:35
Speaker
and add it to the skills that I've learned since that time and then the projects are that much better. I absolutely love that. I kind of did the same thing with my sculptures that I've been making. Like when I first started making them nine months ago, I took a picture every single time I made them and I got to see that progress of like every failure. I loved that so much.
Leveraging Social Media and Partnerships in Art
00:06:55
Speaker
So you mentioned earlier that you're also a speedball professional artist. Tell me how this came to be.
00:07:02
Speaker
So Speedball, that was pretty cool, actually how that came to me. It was really just, funny enough, I took a, again, I hit a point in the master's program where they're like, hey, you've taken enough to get your ceramics degree, you know, outside of pieces, you know, start taking other things. Again, my professor, Linda Gansstrom, she suggested that at social media marketing courses. And so I took the courses, it was pretty eye-opening as far as social media goes, and I was, I just started,
00:07:30
Speaker
Not really implementing too much, but I was like, I'm just going to be, I'm going to pick Instagram and I'm going to start implementing some of the things that I learned from that course. You know, videos, doing, you know, trying to beef up the quality of my videos and stuff on my feed and being more interactive on social media. Like not, not really like, you know, kissing anybody's butt or anything, but just, hey, you see something you like, like it. If you want to comment, comment stuff like that.
00:07:54
Speaker
And Speedball at the time was coming out with some new underglades, their newest underglades line. So I was like, oh man, I love these colors. I was already thinking in my head, I'm going to switch to Speedball. That time anyway, I was using other brands and I was like, I'm going to give Speedball a try. And within a couple of posts and showing things and doing things a little bit more intentful with my content, I was contacted by their media marketer at the time.
00:08:20
Speaker
And it was like, hey, we kind of like what you're doing. And I later found out it's because I was using the speedball bats. It had nothing to do with the workouts. Because I actually wasn't using speedball at the time. I was just using the bats and the wheels because I've always had the speedball man wheels in my studio. And that's what brought them to me. And then we started working together and all that. And then once we kind of went back and forth, they sent me some samples and I had already started
00:08:46
Speaker
switching, kind of figured out how to do the graphics on my work, on my ceramics work, and then using that in speedball underglazes, primarily like, like that's, that was great. And so now that relationship spawned into me joining their professional artist network, which was really awesome. I love, I love hearing about that. So let's talk about your pottery. In one sentence, can you tell me what you make? I make, I make, I make rewards for people.
00:09:16
Speaker
I love it. That's what I love it. So tell me a story, how you started making the part that you make today. So that's, that's what it was back to one of those projects and in the MFA. And it was really like, I want to, I want to be able to, cause I use a lot of stencils in painting and then you just mask it off. You spray paint, peel it, mask it off, spray paint, peel it. You know, you have the primers and all that other stuff. And I was like, well, I should be able to use that same stencil kit that I create.
00:09:45
Speaker
with the vinyl and all this stuff for, like I said, any of the painting projects I was doing, I should be able to do this for ceramics. And once I figured out, like, hey, I can actually use this, you know, the same stencil kit that I use on this four foot painting, I can use it on this six inch cup. I just got to scale it down. Maybe the series of laying the stencils are a little bit different. And then just like spray paint is what I primarily use when I'm doing my paintings. I was like, well, you know,
00:10:14
Speaker
maybe I can switch it and use an airbrush gun because then I can get that same smooth look on my work, no brush strokes. And then once I figured out how to tailor underglazes to spray in an airbrush, that was how the work got there. And then with the heavy graphic design background, I'm a graphic design undergrad with a master's in ceramics. So combining those two disciplines together. And like I said, just the humor and just having fun with it
00:10:44
Speaker
And I spent a little over 20 years in the military doing artwork for people and doing their gifts for people as they leave and go to another unit. That's a lot of artwork over 20 years. And so it's always like a reward.
00:10:59
Speaker
and for those people when I was creating that work. And so that's now what my ceramics, I feel the same way. I want you to feel like when you get one of my pieces, whether you bought it or somebody gifted it to you, like that was made for you and tentfully for you from the start. And it's your reward for just being an awesome human being. So I try to do that with every piece I make. I love that. So you mentioned an air gun and I also plan on using an air gun. So can you walk me through how you are able to use an air gun with underglazes?
00:11:29
Speaker
So you just, you gotta dilute it, obviously. And so a lot of the process I use is, and it's a little bit different for each brand. Obviously I'm gonna, you know, I'll speak speedball specific, cause you know, I just, I can, but they all work, they all work. It's just a matter of just pick the brand that you're used to working with. So, and it's, you dilute it a lot more than what you think. And it's the same as a, but as far as diluting it, I'll dilute it down to what I usually tell people like, like skim milk consistency.
00:11:59
Speaker
And I add a little bit of Darwin 7 or Darwin 8-1-1. And that helps kind of smooth out the molecules as well. Makes it easier to go through the gun. And then I spray primarily on Bisquare. And then that Darwin helps that adhesion to the Bisquare. And then a lot of times when I am thinning it down, so I'll take the underglaze, I usually put it in like a mason jar, like a teaspoon or so in a mason jar.
00:12:27
Speaker
put maybe the equivalent amount of water in there, and then a couple of drops of Darwin, and then I actually take a milk frother, and then I'll froth that all up real quick, and then once the bubbles settle, it's usually ready to go. Now each color is a little bit different because they have different chemical compositions and stuff, so you just gotta tweak it, play with it a little bit.
00:12:46
Speaker
Some colors really, really like it, some don't. But it's just a matter of taking that time to tweak it for the airbrush. And then, like I said, it's just like spray paint. When you're spray painting, let's say you want to spray paint a bored red, you don't want to go on your first hit, because now you have it all gooped up and it's going to be all messed up. You want to do light coats. So it's a lot of coats, a lot of light coats.
00:13:12
Speaker
in that rotation to get it to look like that super opaque, rich color using the airbrush gun. So I'll typically do like 12 light coats for any color. And then that's how I get it to where it doesn't have the strokes and all that stuff. And it looks almost like a final decal that's stuck on the piece. I love that. When I learned that you were using an airbrush, I got super set up. Yes, this is exactly for me.
Creating Joy and Functionality in Pottery
00:13:39
Speaker
So you are inspired by bringing people joy. How does impact the way you make your pottery? Well, and I think that's why I stick primarily to functional wear, because I want people to use it. And I want people to smile every time they look at whatever graphic I put on there, or when other people walk by and smile. And when you're drinking and you lift it up and it has my logo on the bottom, I want the person across from you to smile and kind of laugh and be like, what's that on the bottom?
00:14:05
Speaker
You know, good vibes only with my work is what I strive to do because there's a lot of other things to not be joyful about in today's world. And I think we often forget to sit down and smile every now and again and appreciate some of the good stuff. So I try to do that with my work to give people that moment of joy.
00:14:25
Speaker
I love that. Shaping Nation, if you can bring joy to people with your pottery, you're already getting a win and you're giving other people a win as well. I love that so much. So can you give me a brief explanation on how you create your local pottery? I know you kind of went over a little bit, but can you do it a little bit more detailed on how you actually make the logos? So I start with
00:14:50
Speaker
The end state in my head, like for like one of the recent pieces I did was like taking the Welch's great logo and I made it say, well, I tried. Right. So it was like, I see that in my head first. Then I go to the computer. I use, I use Adobe Illustrator to design all of them stencils. So, so an Adobe Illustrator, I think, okay, this is the end state of the piece.
00:15:14
Speaker
Now how do I walk backwards and design my stencils? And I'm thinking in my head. So I literally would spend about five to 10 minutes just like this, just staring at the screen, like not doing anything because I'm trying to visualize in my head what are all the backwards steps. And then once I get all those backwards steps, I'll start designing those stencils accordingly, depending on the colors. And that's really the hardest part. Like once it's designed on the computer,
00:15:40
Speaker
Like everything else just, it goes like that. Now sometimes I have to go back and redesign it cause I didn't visualize it properly, but you know, nobody's perfect. You know, but then you just, you just go back, redo the stencil, re re-update it cause it, and then in my shapes of my pottery are intentful because it's easier to lay graphics on, you know, simpler surfaces. So, so a lot of my pieces are really simple because to me I'm making canvases because I know I'm going to go crazy with the graphics on it.
00:16:07
Speaker
And it's just a lot easier, the simpler the form is. And so I now factor the color of the clay into all of that because it's different than paint. So it's like I can't necessarily just put a primer on there and cover everything up. It's like, no, color of the clay plays a huge factor, especially if I'm trying to get those smooth surfaces at the end. So I'm really thinking about all the layers and the different steps that I have to make with those stencils.
00:16:33
Speaker
So what is, you mentioned the simple, you keep your pottery shape simple. What are the shapes typically looking like? I just, so that's why I typically do like cups, cups, mugs, tumblers. So just cylinders, cylinders and then, you know, I'll get crazy and make a bowl sometimes, you know, we're like, Ooh, we got this round shape, you know, now the stencil's got to get a little bit more, more, more intentful and things of that nature. Slip casting has been fun too.
00:17:03
Speaker
My buddy John, John R. Hamilton III's ramics taught me slip casting recently. So that's been, that's been a lot of fun too. Cause now I know every time that piece comes out of that bowl, this stencil fits that piece. And it doesn't matter if I make it, you know, two months from now, a year from now, that stencil fits that piece versus when, when I just go wheel throw. I try, I've never really been one of the people that try to make them all exactly the same. I mean, the intent is there. I'll measure it. I'll start with the same amount of clay.
00:17:31
Speaker
and then whatever happens on the wheel happens, but it is a bit easier with slip casting with the stencils because you know it's going to be that way every time. I love that. Shape Nation, sometimes the best thing you can do is to keep your shapes very, very simple, especially if you're doing some more intricate work after the fact as well. I love that. So let's talk about discovering your voice. Can you tell me about the moment when you knew you were heading in the right direction with your pottery?
Finding Artistic Voice by Integrating Disciplines
00:17:55
Speaker
I think it goes back to that. It was that series where I started trying to figure out how to make my work look like my paintings and really taking like vintage, vintage, grab vintage, like gasoline and the oil company type logos like Shell and Sinclair and Mobile and stuff like that and repurposing them for my style of humor and pottery.
00:18:23
Speaker
And then once I was able to do that, and then I started taking some of the stencil kits that I was using on water bottles, that I was, you know, stainless steel water bottles that I was repainting at the time and using those on ceramics. That's when it was like, okay, now that I can graphically do what I want on ceramics,
00:18:39
Speaker
Now I felt like that's my voice. That's where I can go. And then I used to make boxes for all my pieces. I still do every now and again. I'm just using all the different tools and skills that I've learned throughout the years. Like, especially now I have a laser graver in my studio. So like, use the laser graver to build a box. But using Adobe Illustrator, just like I do to make the stencil kit, I can design a box on Adobe Illustrator.
00:19:04
Speaker
and use all those same graphics and make it one cohesive piece. So once I started bringing all the different medias that I worked with, you know, painting, woodworking, pottery, graphic design together, that's when I think my voice came out. I love that. So what would you say was your biggest obstacle when it came to finding your own voice? Biggest obstacle, I think, was getting past that
00:19:27
Speaker
that resistance to fail, I think was the biggest thing, thinking that every piece had to be the home run. You know, this is the one that's gonna get me in the gallery, you know, and stuff like that. This is the one that's gonna make me go viral. Just getting past that and understanding, like we talked earlier, like just because that piece failed, it failed, but you learned in that process and you gained skills in that process. So now remember those failures, learn from those failures and leapfrog off of that.
00:19:57
Speaker
you know, to the successful piece. And you're gonna fail a little bit. You know, I just unloaded a bunch of failures. I had to kill them last night for a new series that I'm working on, but when I work on the next series like that, it's gonna be awesome because I learned so much more and I took all the proper notes and I'm excited about what came out to kill them. Yeah, I was bummed for like 10 seconds, but then it's like, ooh, when I make these again though, now we got them right.
00:20:21
Speaker
So when you finally let go of that feeling of like, you need to make every pot perfect, how did your pottery start evolving? Well, then I started taking more risk. You know, it's like, oh, OK, well, I can do I can do a one color graphic on my work. And then it's like, OK, well, how can I do two color graphics? OK, with two color graphics, then, you know, but there are the two colors are kind of separate. It's easy to separate them.
00:20:46
Speaker
And then it's like, no, I wanna do three color, I wanna do four color, I wanna do gradations, I wanna do all that. You keep pushing yourself. And that's the fun part of getting rid of that fear of failure is because then you pretty much unleash your inner artist to do anything and everything and just have fun with it. And then, like I said, take good notes as you go. And you'll see, you'll be amazed at whether you come up with it.
00:21:11
Speaker
I absolutely love that. Shaping Nation, if you get over that fear of failure with your pottery, your pottery is going to grow exponentially and you're going to find your voice so much faster that way. I love that. So outside of getting your MFA, you also contribute your success as an artist to exploring other art forms and doing commissions that helped with your growth. Can you help me? Can you tell me more about this? Yeah, so doing commission artwork
00:21:37
Speaker
It was kind of like wide open for years. Like I said, being in the military and every time somebody left, it was just, I never really knew. There was only a couple of times where there was like a standard gift. It would always be like, hey, this person always wanted, you know, a shoe horn. Like, can you make a custom shoe horn? Like, okay, I don't even know what a shoe horn is.
00:21:57
Speaker
but I'm gonna go look it up, then I'm gonna say that I'm gonna make it, you know? And that's the kind of stuff that I would do for years. Like, well, this person always wanted a painting of this. They were a pilot. Can you paint their helmet? Okay, yeah, I'll paint their helmet, you know, and do things like that or coin rack for challenge coins and all that. So just doing all those different things and gaining those skills and just always, you know, paying attention to,
00:22:25
Speaker
you know, what a lot of artists are doing. Like, if you look at my Instagram, I follow all kinds of artwork because I'm still, to this day, still kind of learning.
00:22:33
Speaker
and appreciative of all these other art forms. And then it's like, how can I bring that into my own studio? And I think a lot of that comes from my graphic design undergrad, because that was a big way how we learned how to do graphic design was like, hey, go pick a magazine that you like, that you like the spreads. I think at the time we were all hyped on Wired magazine, which is still a great magazine for graphic designers today. It was just, hey, look at that. Look at the spread. Try to figure out how they did it.
00:22:58
Speaker
You know, so that's one of the techniques I still use today too. I was like, Oh, okay. That's, I'll ask artists sometimes like, Hey, that's really cool. How are you doing? Like, how are you doing it? You know, sometimes they'll share, sometimes they won't, but there's, there's nothing wrong with, with invitation to get to, you know, where you want to go. So I meant to ask you this earlier, but how did your background in graphic design help you with your own pottery? So I think it,
00:23:25
Speaker
We obviously put the graphics because it made it that much easier because I already understood the graphic side of it. And then when I sell my work, a lot of times I'll accessorize the crap out of it. Like it'll be stickers in there that I've all designed, key chains. Like I said, the boxes, I used to make the boxes, like all kinds of crazy stuff I like to throw in there that all comes from my graphic design background.
00:23:51
Speaker
tying all these different elements together with the end state of providing you that reward when you get the piece. So that's how I think the graphic design helps, because just understanding that side of it and understanding the graphic design side of marketing, and then actually having taken marketing classes, it all just kind of came together, I think. And then once I figured out how to make it kind of a cohesive relationship, that's how the work got to where it is today.
00:24:21
Speaker
I love that. Shaper Nation, if you have skills outside of pottery and you can figure out a way to put that into your pottery, your pottery is going to look that much better. You're going to also be way ahead of the game as well.
Learning from Others and Embracing Individuality
00:24:32
Speaker
I love that. What advice would you give to someone trying to discover their own unique voice with their pottery? I would say two things. One is, you know, look at what other potters are doing. There's nothing wrong with saying, hey, I want to do graphics like Dell is doing.
00:24:51
Speaker
You know, people reach out to me all the time. They reach out to me. I don't hide it. I'm like, this is how I do it. You know, there's nothing wrong with that because I know and I've taught several people how to do what I do. And they don't make work that looks like mine. They just take that skill that they've learned and go make their work with the skill set or the equipment. And I think it's a beautiful thing. And then the last thing I tell people is like, you got to understand that, especially when it comes to art, nobody can bring to the table what you can bring to the table.
00:25:21
Speaker
Like you were the only one that can put your artwork in the world. Like that is a beautiful thing. Nobody else can do what you can do because I don't know your experiences. I don't know your skillset. I don't know what drives you. It's totally different than me. So why wouldn't I share what I can share because you got to understand that you're the only one that can bring to the world what you can bring because you're the only you. So I would say be encouraged by that.
00:25:48
Speaker
Absolutely great advice right there. So as we are coming to a close here today, what is one thing you want to hammer home with my audience?
Advice for Artists: Be Cool, Have Fun, and Learn from Failure
00:25:56
Speaker
one thing is just Just be dope. That's that's that's the thing. Just just be dope Just just make work and just have fun with it. Don't don't set any expectations when you go into the studio, you know have a plan and
00:26:11
Speaker
But be ready for that plan not to work out. Kind of like how you think it's gonna work out. But understand, even if it doesn't work out, you learn something in that process. Like that failure or success are equally valued. And I would even say maybe the failures are more valuable than the successes. Absolutely. Delvin, it was so great chatting today. Where can my artists go and learn more about you?
00:26:34
Speaker
Primarily on Instagram, dgoodart, D-G-O-O-D-E, A-R-T. That's pretty much where our post everything. Got a lot of cool stuff coming up but that's the main spot right there.
00:26:48
Speaker
I hope you enjoyed this episode of Shaping Your Pottery with Nick Torres. If you would like to support the Shaping Your Pottery podcast, then go to shapingyourpottery.com forward slash donate and anything is appreciated. You could also click the link in the description. This is going to allow me to to create more and better episodes for you. I hope you guys enjoy this episode and I'll see you guys in the next one.