The Wraptor handbook

WrapStudio Design — vector wrap design, from concept to cut file

Who it's for

Designers live here: it is a full vector design application in the browser, purpose-built for wrap production. Owners and managers use it to keep design in-house instead of paying for Illustrator seats and template subscriptions, and to move a design straight onto the job's quote and proof without exporting anything.

Where it fits

WrapStudio Design is the vector canvas inside WrapStudio. Open it from WrapStudio → Start → Choose a template, or from WrapStudio → My Work → Editable — where New design opens the same New wrap design dialog and any thumbnail reopens a saved file. There is no index page for the design app; each design has its own address (/studio/design/<design id>). It sits between winning the job and printing it: design the wrap, get the customer's sign-off through the proof link, price the material on the quote, then hand production the print PDF and cut files. See studio.md for the rest of the hub and workflow-map.md for the lifecycle.

Overview

The design app is a layered vector editor working at true physical scale — a van-side artboard knows it is 220 real inches wide (drawn at 1:10), so every export, panel, and quote line is dimensionally honest. Everything a wrap design needs lives in one surface: drawing tools, typography with warps, print-grade export, panelization, AI generation, and the job loop.

The canvas — artboards with rulers, guides, snap lines, zoom/pan, and a strip of artboard tabs above it. Up to 16 artboards per design (vehicle views: sides, rear doors, hood), each with its own real size and drawing scale. Presets cover Van side (1:10), Box truck side (1:10), Sedan side (1:10), Pickup side (1:10), Van rear doors (1:10), Hood (1:10), Rear window (perf), Banner 6 × 3 ft, Flyer (Letter), Business card, Instagram post, Instagram story, plus Custom size in inches or pixels.
Tool rail (left) — 24 tools in five groups. Selection: Select (V), Direct Selection (A), Lasso (Q). Draw and edit: Pen, Curvature (⇧`), Pencil (N), Edit nodes, Eraser (⇧E), Smooth (⇧S), Path eraser. Shapes and type: Rectangle, Ellipse, Line, Polygon, Star, Text. Modify: Shape Builder (⇧M), Knife (K), Scissors (C), Eyedropper (I), Distort image, Envelope warp. Canvas and production: Artboard (⇧O), Measure (real inches).
Inspector (right) — the artboard list on top, then three tabs: Layers (the layer tree, lock and hide), Properties (everything about the selection — paints, strokes, typography, effects, transforms, Pathfinder, panels, cut contours), and Brand (your shop Colors, Logo & assets, and Brand fonts with Upload font).
Top bar — back arrow to WrapStudio, the design name, the save status (Saved / Unsaved / Saving…), AI, undo/redo, Find & replace (⌘F), Production color mode, Version history and Export. Your work saves itself; there is no Save button.
Right-click on the canvas — Copy/Cut/Paste/Duplicate, z-order, Flip horizontal/vertical, Make guides (⌘5), Select same (fill color, stroke color, font family, opacity, blend mode, shape type), Select inverse, Group/Ungroup, Nest for cutting…, Lock, Hide, Move to artboard, Delete.

Capabilities

Templates & import

The New wrap design dialog offers four ways in: import a template file, Start from artwork (PNG, JPG, WebP, HEIC — the artboard matches the image), Start from vehicle photo, or an artboard preset / Custom size. Designs you saved with Save as reusable design appear under Reusable designs.
Import .svg, .ai, .eps and .pdf files as editable artwork, or .tif/.tiff for layered vendor templates. Older Illustrator files (Illustrator 3–8 format, which sign programs like SignLab, CorelDRAW and FlexiSIGN still export, and Illustrator-written .eps) are read as well as today's PDF-based .ai. Wraptor asks you to confirm the drawing scale on import so measurements and material math stay true.
Layered TIFF templates (Bad Wraps, SAi, and other vendor packs) open with every layer separated — and hidden vendor layers ("turn on for dark designs," alternate colorways) are imported and revealed rather than silently dropped, each renamed (was hidden) so you can see what surfaced.
Start from vehicle photo — turn a straight-on side shot into a locked, traceable template without a subscription template pack. The wizard runs Isolate → Trace → Calibrate:
1. Upload the photo. Wraptor tries to identify the vehicle (year/make/model) from it to pre-fill the template name — the field says Identified from the photo — edit if needed, and a low-confidence guess is skipped gracefully.
2. Remove background — 1 credit, or Skip — photo only. Removal is required before tracing is offered; on a cluttered photo skip it and you still get the photo-plus-calibrate path.
3. Trace outline — 1 vectorization, or Skip — no outline. This auto-traces the body, panels and windows into filled vector shapes — a rough reference, not clean line art. Glass reflections can come through as stray scribble and wheels as solid blobs.
4. Name the template and press Create template. The photo — and the traced outline, if you ran one — lands locked as template art, with an editable Design layer on top for your artwork. Unlock the outline in the Layers tab to delete the stray glass and wheel marks.
5. Back in the editor, calibrate the scale. Deselect so the artboard's own settings show in Properties, press Calibrate scale, click both ends of a known dimension (the wheelbase is easiest), then type its real inches. No dimensions are guessed for you. A step that fails leaves the wizard resumable at the prior step — no orphaned charge; a failed background removal or trace is refunded automatically.

Drawing & editing

Pen with bezier handles; Pencil freehand (auto-smoothed); Edit nodes for corner/smooth points and broken handles; Scissors to cut a path open; Knife to slice straight through a shape; Shape Builder to drag regions together (Alt-drag carves them away).
Path commands in Properties: Offset path… (decal keylines), Outline stroke (exact for cut files and booleans), Simplify…, Round corners…, Reverse direction (plot direction, and which side text-on-path runs), Add anchors, Taper stroke… (width-interpolated pinstripes and swooshes), Zig-zag…, and Release compound path.
Live, re-editable distortions that stay parametric: Zig zag and Roughen checkboxes (a hand-cut distressed edge driven by a seed), the Envelope warp tool's curve cage, and Warp selection (arc)… — the last one is destructive and turns shapes into paths.
Curvature tool (⇧`) — click to place points and the path smooths itself through them, no handle-dragging: ⌥-click drops a corner point, click your first point to close, Enter commits an open path, Esc cancels.
Lasso select (Q) — draw a freehand loop and everything whose geometry sits inside it selects (⇧ adds to the selection); a loop drawn wholly inside one big shape selects nothing, so you can lasso details sitting on a background.
Brush cleanup: the Eraser (⇧E) drags a round brush (with a circle preview at the brush size) that erases inside closed shapes and trims open strokes wherever it crosses them; Smooth (⇧S) brushes along a selected path to relax the anchors it touches (replacing their custom handles); Path eraser removes exactly the stretch of a selected path you brush along.
Stroke controls: numeric dash pattern editor (up to 8 values) with dash offset, miter limit, and start/end arrowheads (triangle, bar, or circle, scaled to the stroke width) — all of it renders identically on canvas and in PNG, SVG, and print PDF exports.
Anchor cleanup in the node editor: select two or more anchors and Average them horizontally, vertically, or both (⌥⌘J); select exactly two open end anchors and Join (⌘J) fuses or bridges those specific ends — closing a subpath, bridging two subpaths, or merging two layers.
Pathfinder (appears once two or more shapes are selected): Unite, Minus, Cross, Excl., then Divide (split every overlap into its own face — per-color plot pieces), MinusBk (keep the top shape, subtract everything below), Crop, Trim (each object keeps only its visible region — flatten for print) and Merge (trim, then unite touching same-fill regions — per-color plot prep). Make compound path punches donut holes; Release compound path undoes it.
Flip horizontal/vertical, numeric Scale with fit-to-artboard, Step & repeat grids (sticker sheets), align/distribute with key-object alignment, group/ungroup with isolation mode for groups, clipping masks and opacity masks.
Custom pivot — toggle it on, drag the crosshair on canvas or type X/Y, and rotate/reflect/scale/shear all use it; numeric shear H/V (shapes convert to paths; "Shear copy" + ⌘D chains stepped slants); scale with copy, and ⌘D repeats a scale about the same fixed center just like rotate-copy chains; distribute accepts a typed gap (blank = classic equal spacing within the span). A 9-point pivot grid arms the custom pivot at any corner, edge midpoint, or center of the selection bounds with one click.
Arbitrary-angle reflect — type a Mirror ° in the Transform section and hit Reflect or + Copy to mirror across a line at any angle (shapes and text stay live, not flattened to paths); ⌘D repeats the same reflection.
Live repeats — the Repeat (live) panel section puts real repetition on any layer: Radial rings 2–24 copies around a center you place, Mirror reflects across a movable ↔/↕ line. Copies render as locked ghosts on every surface including print and cut — a repeated sticker cuts that many times — and moving the source moves the whole construct. Repeats sit inert on clip/mask sources and on layers inside a group that already repeats (the panel says why and offers Remove repeat).
Make guides (⌘5, also in the right-click menu) — turns the selection's edges into artboard guides in one step; it never removes guides you already have. Each axis holds at most 32 guides, and you are told when some were not created.
Add dimension labels — drops physical width, height and edge-offset callouts around the selection (measured on the rotated art's real footprint). They print on proofs, so an installer can check placement against the vehicle.

Typography

14 curated font families plus your uploaded brand fonts; per-word styled spans; letter spacing, baseline shift, justify. Upload a face under Brand → Brand fonts → Upload font; you confirm you hold a license to use it for your shop's work.
Warps: Arc, Wave (glyphs follow), Flag (glyphs upright), Rise (incline) — the truck-lettering looks — and text on a path.
Point text (auto width) sizes itself to its content; turn it off for area text — a fixed frame with vertical alignment and an overflow badge. Fit text to frame width scales the type until the longest line spans the frame. Convert to outlines for cut work.
Glyphs — a picker for special characters (® ™ arrows and the like) without leaving the canvas.
Gradient text — linear and radial gradient fills render as real gradients on text (the chrome/fade truck-lettering look), continuous across all glyphs even through warps, letter spacing, and text-on-path.

Color & paints

Solid, linear/radial gradients, pattern fills with an AI seamless-pattern generator, about 170 real 3M 2080 and Avery SW900 film swatches, named spot colors that export as separations, document swatches.
Gradient and pattern swatches with color groups — the "+" in any fill editor saves the current paint as a global swatch, gradients and patterns included (not just solids), linked to the layer as it saves; give swatches a Group name in the swatch edit row and the chips render under group headers. Recoloring a swatch updates every linked layer in one step — but never your manual per-object alpha — and manually editing a linked fill detaches it from the swatch.
On-canvas gradient stops — the gradient annotator shows stop chips right on the gradient axis: drag a chip to move a stop, double-click the axis to add one (up to 8), Alt-click a chip to remove (min 2), and the selected chip highlights the matching row in the panel.
In-app color picker — color swatches (fills, stroke paint, gradient stops, effect colors, artboard background) open a picker popover (saturation/value square + hue strip) with hex, R/G/B numeric entry, and alpha; a screen eyedropper button appears on Chromium browsers. Two niche spots still use the OS dialog: the per-span color chip in the span editor and the swatch-list recolor well.
Eyedropper copies styles between layers or samples a pixel color from any photo.
Production color mode — the printer icon in the top bar swaps the canvas to a print-intent CMYK preview: solid fills render through a CMYK simulation instead of their raw screen hex. Toggling it is a view-only preview; it doesn't touch your saved design or undo history.
Print-risk warnings sit on every solid fill, whether or not that preview is on. A color that will shift noticeably when separated gets a Shifts in print badge with its approximate ΔE; Nearest vinyl… lists the three closest 3M 2080 / Avery SW900 films with their ΔE (color-difference) distance, and one click applies a film and tags the fill with it. Every CMYK, ΔE and gamut number here is labeled a screen approximation — verify the real color on a physical deck before committing a job to it, the same caveat that applies to the swatch library generally.

Print PDFs in CMYK Once production color mode has informed your color choices, the PDF (print) export writes solid fills as true CMYK color operations (not just an RGB-to-CMYK guess baked into a raster) — vector exports for non-print use (PNG, editable SVG) are unaffected.

Production output

Everything below lives in the Export dialog, scoped to This artboard or All artboards.

PDF (print) — vector output with true CutContour spot separations (RIPs auto-detect), vector gradients, named spots, per-side bleed, trim/bleed boxes, auto-scale for oversize boards. Two checkboxes ride with it: Registration marks (crop marks and registration targets on every plate) and Mirror (reverse-mount) for printing on the adhesive side of clear media. Both apply to the print PDF only — Panels PDF and cut files are unaffected.
Contour cut wizard… — unite the selection and offset a cut contour around it in one step: Offset, Corners (Round, weeds easiest / Miter, sharp / Bevel), Silhouette only — don't cut interior holes, and Weed border + slice lines with a weed margin. Press Create cut line to build it. A single stroke can also be tagged by hand with Mark as cut contour, then set to one of three channels: Kiss cut (/CutContour), Through cut (/CutContourThru) or Perf cut (/PerfCutContour) — each plots on its own separation instead of collapsing into one anonymous path.
Panels (in Properties, on any artboard measured in inches) — set Media (in), Overlap (in) and whether Seams run horizontally or vertically, then Auto-panelize. Drag seams on the canvas afterwards; Number panels drops P1/P2… labels that print with the job, and Install sheet builds a new half-scale artboard with the numbered panel map and install order for the bay wall. You are warned in red if a panel exceeds the media width. Export it as Panels PDF (map + pages) — per-panel print pages at panel-local resolution, with lap lines printed exactly where the neighboring panel's edge lands.
Cut SVG and Cut EPS — plotter files carrying the cut paths at true physical inches, per-panel when panelized. These buttons only appear once something on the artboard actually carries a cut contour.
Roll nesting — right-click → Nest for cutting…, pick a Media width and set the Weeding gap (in), then Nest onto roll. The parts pack onto a new roll-width artboard so plot jobs waste less vinyl. It nests your selection, or every cut path on the artboard if you have nothing selected.
Production pack (ZIP) — one file: print PDF, panels PDF, cut files, preview PNG, README.
Preflight — automatic checks that run live above the export buttons: image resolution at print size, open cut paths, missing bleed, panels over media, raster fallbacks. A clean board reads Preflight clean — ready for production.
Body-line and recess overlays — Mark as body line / recess turns door handles, seams and recesses (a whole selection at once) into orange hazard guides that never print, cut, or raster; preflight warns when text or a logo crosses one, so distortion gets planned instead of discovered on the vehicle.
Also: Export PNG at a chosen PPI with an optional Transparent background, TIFF (print), SVG (editable) (text as outlines, effects as embedded rasters — opens in Illustrator or Inkscape), a client Proof PDF (one labeled page per artboard), Save to My Work, and Fleet series… (a {N} token becomes numbered unit pages).
Fleet Data Merge — a different kind of fleet export: upload a CSV (one row per vehicle) and map its columns onto the design's text layers by name — Wraptor auto-guesses the mapping from matching column/layer names, and you can adjust it. Preview any record before running. Exporting produces one vector print PDF per row, each with that row's text swapped in (unit numbers, names, phone numbers — whatever your columns hold), zipped together with filenames from a column you choose. Unlike Fleet series' raster unit pages, Data Merge output is full print-grade vector PDF per vehicle.

The AI button in the top bar opens a small panel with two modes — Edit this design (sends a snapshot of the artboard with your prompt; the result lands as a layer on top, 1 credit) and New image (makes a picture from your words only — it can't see the canvas — 1 credit). Two checkboxes sit under New image:

Full design — shapes + real text layers, all editable (1 credit) — brief it like a client and it composes a layout you can keep editing, never a flat picture. Include the company name, phone and vibe. It lands as one undo step.
Vector output — auto-traces into editable paths (1 credit + 1 vectorization) — the generated image is traced into real paths instead of staying pixels.

Elsewhere in the app:

AI recolor (in Properties with nothing selected) — type the look you want, for example "stealth satin black + lime accents", and press Recolor the design. It rewrites vector fills only; cut contours and photos stay untouched, and one undo reverses the whole pass.
Select an image layer and a small toolbar appears over it: Remove BG (1 credit), Upscale (1 credit — a sharper Topaz 2× copy above the original), Vectorize (1 vectorization, Full color trace or Black & white trace), Panelize, Recolor (1 credit) and Replace (swap the file, keep the placement and styling).
Photo mockup — pick a vehicle photo (in the Export dialog) — puts the design onto the customer's own vehicle photorealistically. It takes about 30 seconds and also saves to My Work → Generated.
Start from vehicle photo — a straight-on side shot becomes a locked, scale-calibrated design template. No template subscription required.

The job loop

Send to job… at the bottom of the Export dialog connects the design to real work. If the design isn't linked yet you get a Link this design to a job list of recent jobs (and a nudge to create a job first if you have none); once linked, the job's name shows with an unlink link beside it.

Attach to files — renders the artboard and drops the PNG into the job's Files tab.
Create proof — saves the render as the job's next proof version and copies the customer approval link straight to your clipboard, so you can text or email it. The customer comments and signs off on that page. See proofs.md.
+ Quote line — pick a draft quote and a material tier, confirm the price per square foot, and a material line lands on that quote priced from the panel estimate (or the artboard's coverage when the board isn't panelized). Sent and approved quotes stay locked, so only editable drafts are offered.
New draft quote from design (or Create draft quote from this design when the job has no editable quote yet) — starts a fresh DRAFT quote from the design's coverage, film cost and your shop's material waste allowance. It opens as a wrap quote in Estimate by area with a Vinyl line and a Material waste allowance — N% line, titled after the design. It prices at your own rate for that film when you have one saved in Money → Quote Settings → Materials, labor & add-ons, and at a built-in rate for the tier when you don't. It is an estimate: review it before sending. See quotes.md.
Material est. — a running coverage / roll-length / panel-count / cost readout on any artboard measured in inches. Pure math, no credits.
Deduct material from inventory… — once an artboard is panelized, the Properties panel offers a deduction: type the square feet, press Deduct, and both your inventory and the job's usage log update. The design has to be linked to a job first, because usage is logged per job. See inventory.md.
Save as reusable design — keeps the whole layout as a starting point for the next customer; it then shows up under Reusable designs in the New wrap design dialog.
Version history — autosave takes a snapshot at most once every 10 minutes, and Save version… labels a moment you want to keep; restoring snapshots the current state first, so nothing is lost.

Step-by-step tasks

Design a van side from the customer's photo
1. WrapStudio → Start → Choose a template → Start from vehicle photo → upload a straight-on side shot.
2. Remove background — 1 credit if you want the option to trace an outline; Skip — photo only to go straight to calibrating.
3. Optionally Trace outline — 1 vectorization, then Create template.
4. In the editor, unlock the traced outline in Layers and delete any glass or wheel scribble.
5. Deselect, then Properties → Calibrate scale → click both ends of the wheelbase and type its real inches.
6. Design over the locked photo; use film swatches and brand fonts.
7. Export → Photo mockup — pick a vehicle photo to show the customer, then Send to job… → Create proof for sign-off.
Take a design to production
1. Select the art → Contour cut wizard… → set the Offset and Corners, tick Weed border + slice lines if you want one → Create cut line.
2. Deselect → Properties → Panels → set Media (in) and Overlap (in) → Auto-panelize; drag seams if needed, then Number panels.
3. Export → read Preflight, then Production pack (ZIP).
Let AI draft the layout
1. AI → New image → tick Full design → brief it like a client ("plumbing company, FLOW PROS, 555-0100, navy + lime, bold") → Generate.
2. The layout lands as editable layers in one undo step — recolor, re-warp, rearrange, then export as usual.
Batch-export a fleet from a CSV
1. Finish a design with the text layers you want to vary (unit number, name, phone) named clearly.
2. Export → Data merge (CSV)… → upload your spreadsheet.
3. Check the auto-guessed column-to-layer mapping (adjust any that guessed wrong), pick a filename column, and flip through the record preview.
4. Run it — Wraptor produces one vector print PDF per row, zipped together with a README stating the print scale.
Check a design for print-color risk
1. Turn on Production color mode (the printer icon in the top bar) to see the canvas as it will separate.
2. Look for the Shifts in print badge on any fill — it flags colors that will move when separated to CMYK.
3. Open Nearest vinyl… on a flagged fill to see close 3M/Avery matches with their ΔE distance, and apply one if it's a good fit.
4. Remember every number here is a screen approximation — confirm on a physical deck before committing.
Price the design without leaving the canvas
1. Export → Send to job… and link the design to the job if it isn't already.
2. Pick the material tier in the dropdown.
3. New draft quote from design builds a whole DRAFT quote from the coverage, film cost and your waste allowance; + Quote line adds a material line to a draft quote you already have.
4. Open the quote and finish it — it is an estimate until you review and send it.

Settings & permissions

Who can open it. The design app needs the Wrap Studio permission. Managers have it, and so does the default Designer role; Production and Installer roles do not. Grant it per role in Shop → Team → Roles & Permissions. See team.md.
Who can quote from it. + Quote line and New draft quote from design write to a quote, so they also need the Billing permission. A Designer has it by default.
What it costs. Drawing, importing, panelizing, cut files, preflight, exports and the material estimate are free — no credits, on any plan. Only the AI actions meter: 1 credit for an AI edit, a new image, a Full design layout, a background removal, an upscale or an image recolor; 1 vectorization for a trace. Vector output spends one of each.
Where credits come from. Paid plans get a monthly allowance — 60 credits and 10 vectorizations a month on Wraptor Starter, 500 and 40 on Wraptor Shop, 1,000 and 100 on Wraptor Fleet. The 7-day trial carries a one-time starter allowance of 15 AI credits and 3 vectorizations that never refills.
When you run out. The AI panel shows the refusal in place rather than failing silently ("You've used all 15 trial AI credits…"). Top-up packs are sold at Settings → Accounting & Billing and require an active paid plan, so a trial shop activates a membership instead. See plans.md.

Limits worth knowing

The design app is desktop-only. Below 1024px wide it shows "The editor needs a bigger screen" and points you at the Studio home, where phone-friendly generation still works.

The print PDF keeps vector geometry wherever it can, and falls back to a high-resolution raster inside the PDF for a layer that carries a pattern fill, a non-vectorable gradient, any live effect (shadow, blur, glow, feather), a blend mode, an opacity mask, an image, or brand-font text. If that layer also carries a cut contour, the cut still exports as vector. Spanned text edits in the inspector rather than on-canvas.

Imports are capped at 100 MB, or 300 MB for layered TIFF templates. CorelDRAW (.cdr) files can't be imported, and neither can an .eps that wasn't written in Illustrator's format — use the .ai or .pdf from the same template download. Older-format (.ai/.eps) templates are kept as editable paths whenever they fit: curves that are really straight lines are stored as lines (nothing moves by more than a tenth of a point), same-colored shapes share layers wherever that can't change the picture, and a sheet with more separate shapes than one artboard holds (60 layers) is split into one artboard per view — a full PVO vehicle sheet typically comes in that way. The import tells you when it split, and when the line art takes more than half of the design's 1 MB size limit. Only a template that still won't fit comes in as one locked reference image at up to 300 ppi, and the import says so.

The design saves itself about a second and a half after you stop editing, and warns you before you close the tab with unsaved work. If the same design was changed in another tab, an amber banner reads "This design was changed in another tab — reload to get the latest." and autosave stops until you reload — anything you type after that banner appears is not being saved.

Gradient text prints as vector shading when the font can outline and every stop shares one alpha; per-span styled, path-warped, and brand-font gradient text rasterizes in the print PDF like the other raster fallbacks. Gradient text is fills only — text strokes and per-span color overrides stay solid, and pattern fills aren't offered on text. On gradient strokes, arrowheads flatten to the first stop's color.

Live repeat copies aren't counted by preflight, material estimates, or roll nesting (those see the source only — budget vinyl accordingly), and smart guides don't snap to repeat ghosts; rotating, reflecting, or scaling a repeated source leaves its repeat center where it was (move the source and the whole construct travels). The Eraser and Smooth brushes work on paths and shapes only — text and images don't erase (convert text to outlines first).

The vehicle-photo outline trace only works well on a background-isolated vehicle — on a cluttered photo, skip tracing and use the photo-plus-calibrate path instead (Wraptor won't offer the trace step until background removal has run). Even on a clean cutout, glass reflections and wheels are known trace artifacts, and the trace lands locked as template art: unlock it in the Layers tab to delete the stray marks. Production color mode's CMYK, gamut and ΔE numbers are a screen approximation, not an ICC-accurate proof — always verify on a physical deck before a job goes to print. Fleet Data Merge maps CSV columns onto text layers only (no image or logo swapping per row).

Studio — the hub this canvas lives inside, plus Magic Wrap, Vectorize and the generation tools.
Proofs — where the proof you create from Export goes, and how the customer signs off.
Quotes — the quote a design line or draft quote lands on.
Inventory — the rolls a material deduction comes out of.
Jobs — the job a design links to, and where its files and proofs show up.
Colors — your shop palette and brand colors.
Plans — what your plan includes and how AI credits work.
Workflow map — where design sits in the job lifecycle.