And at first, it slowly evolved. I didn't understand necessarily the weight of what that would necessarily mean. And now at the other end of things, I understand what part we played in and also just seeing what their actual vision was that came to life. So they got in contact with us. They learned very quickly that this is the company they wanted to work with because they had a very difficult thing that they had to do, which took 15 world-renowned artists, the biggest artists of our modern-day life, and have them produce artwork that can translate onto a bandana. So for Shepard Fairey, that's easy. Right? Cause he does graphics. He has production. I mean, this is something that he does all the time. So his art came and it was like, Easy peasy, but then you have the artists that are literally drawing with a marker on a piece of paper, scanning it and sending it. And we have to somehow get that to be translated, to screen printing and they have made it very clear. They weren't, they weren't going, they wanted it to be uniform. So it all had to be screen-printed otherwise we'd be like, let's do digital sublimation for these high colors. Artworks, and then let's do some screen printing for these other artworks. No, they wanted it a hundred percent screen printed. And not only that they wanted the biggest screenprint possible, uh, which we were limited to six colors on, on a 22 by 22 bandana. So the growth of working with that came from...working with different art houses and their assistants and people trying to drive this project through and having it, having the responsibility on our end to make sure that their art is actually translating to a bandana and the way that they wanted it to. And, you know, with art, you gotta be very, you gotta be very conscious of, of what they're trying to say and not to mute out any colors is how they say it. So that they mute out anything that is important to them. So long story short. We were successful. Not only that we package, but we also folded, we produced special envelopes and inserts and we, um, prepared it for shipping as well. And they were able to raise over $600,000 for the get-out and vote effort. We had never done something on that scale where it was a collection. So now we can turn and say, Hey, we do collections and we've done five other collections since then. Not on that scale, but on other, um, with other artists, artists are really listening to the demand and trying to just do good in the world. And they're putting together so many, so many nonprofits are now coming to us to put together collections for the, for the, um, fundraising opportunities that they're trying to create. So that was a pretty monumental time. And it's an ongoing, uh, what I have to say about that is that we made it to Time Magazine as close as we'll ever get, which means that the bandana that we printed for Shepard was featured on the Time Magazine edition of the vote. It's their vote time Magazine. So it's kind of our claim to fame. We have the Time Magazine here. It's kinda like we were, we made time kind of, but that's also, so... Marshall For somebody that's listening and they go, you know, what does a collection...can you just describe what that is? So they kind of understand what you're talking about. Holly Yeah. Yes. Well, I mean, it's, it can be very unique. It's whatever they want it to be. But what we've seen is, is really the artwork, uh, transitioned into graphics, and then that transition into screen printing or digital or sublimation onto bandanas and really. It's storytelling. And, and that's where I go back to when I said with, with a large area of 22 by 22, you, there's a full-blown story that can be told within that space.
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