There's our M. Now I would like you to notice, please, that there's, that there's very distinct width changes in these letters. So, for example, this stroke is much thicker than this stroke. This stroke, which is a very thin stroke. It's over here in the A, it's over here in the K, it's here and here. It is often considered a hairline stroke, and I don't exactly like that term because I think it leads to the idea that it's as thing as a hair, which I don't think it is. But, in any event, here is our M and notice, please, it's four strokes. One, two, three, four. And, if you want to think of these as legs, two legs holding up the V, how far the angle at which these get splayed, it has to be, it's bilaterally symmetrical, the same on either side. But, that splay is a little bit, it's something that can be changed a little bit according to your own sense of it or maybe according to how the letters are playing out in terms of their spacing for the whole piece that you're doing. You don't see complete consistency when you study the inscriptions, for example, of that period in time, 2,000 years ago. But, anyway, here's our M and, yes, we would consider this a one story letter with an, coming just, maybe, a little bit wider.