Hello there, it's Sandy Olnock and today I'm going to do some wintry stamped watercolour. And I'm going to start with the barn from one of the new releases from Art Impressions. And a lot of people think that the Art Impressions stamps all need to have flowers in them, right? Lots and lots of flowers, no they don't. They can make all kinds of beautiful scenes otherwise for other seasons of the year. And even though we are past Christmas cards, you can still do wintry themed cards because I'm betting we got some winter ahead of us before the spring starts to come in. So I'm going to make some wintry scenes here. I started by putting some blue and brown on the barn and then stamping it onto a sticky note because I'm going to make a little mask for it. Turns out I don't need it by the time it's all said and done. I did that while I had the stamp here and lined up and I'm going to paint a little bit of water onto the blue part which I drew just on the roof so that that would be the snowy part. And then I did the brown on the base part of the building so that when I take my waterbrush and touch it to it, this is a silver brush number eight, then that just kind of moves all that brown color but it stays in the bottom section. Especially since I dried the snow that I wet on the roof, then all of this is not going to move into the roof, all this brown color. So keep your heat gun handy and that will help you to control things just a little bit when they start going nuts. I tend to use more water than a lot of people sometimes in my stamped watercolor and managing that and knowing how wet something is and whether or not a color is going to bleed into it is an important thing to figure out. And I will dry that up so that then I can start moving on to the next portion of this which is to adjust my misty because guess what? There are some new stamps in the new art impressions line that are clear, clear stamps. Look at this, there's several of these scenes. This one is the fenced scene and I'm going to put my little mask over top of my house to keep that protected but I'm only putting it there to protect the roof. It doesn't matter for the rest of it, the fence is going to go in front of it but if I were trying to keep that roof pure, I would want that mask on there. Turns out I didn't need it because I had aligned it so that it didn't matter but you can see now I've got this scene. There's a couple different scenes. There's one that has a river in it, one that just has hills, etc. So you can check and see which ones might be most appropriate for you but I wanted to play with this fence and I've done the stamping just in blue for right now. I'm going to add brown to it but doing it in blue allows me to pull some of that blue down from the stamping and create shadows for each one of those posts. So I'm wetting them and then just pulling that color down at an angle. I'll add a little bit more to it later as well. But that helps to establish those posts so that there's a light source in the painting. I'm wetting all of the rest of the ink that's been stamped from the markers and just trying to put in a little bit of snow color elsewhere because snow has more color than you think it does and if you put in some color in your picture you're going to end up with something that looks more realistic and the snow is going to look whiter when it has something else in it.  Here if I put enough blue in here look how much as soon as I added the shadow for the building and then darkened the shadows from the fence all of a sudden everything else looks more white because of it. And has more interest to it. So now I'm going to paint a couple of kind of scrubby lines in here to be the grooves for a car or a wagon driving up the road in the snow. They don't have to be even at all kind of better if they're not so it looks like crunchy snow. And then taking the color that I've scribbled onto the misty which is what I'm stamping in and adding some more color excuse me to the mountains. I decided I wanted a little darker something there because it was just feeling so white so putting that color makes those mountains move into the distance and then the snow is in the foreground. Adding just a little bit more water to put some some form to the shadow on that hillside so there's a little something there and then dry it all really good so it all stays put. Next I'm going to restamp just the fence portion and I did that by wiping off the stamp and only putting brown ink or brown marker on the fence posts themselves so that I can press that down and end up having all of a sudden that detail pop up right in front. And since I knew I was going to do this fence as a really dark brown fence I didn't have to worry about it going right in front of the house or the barn or whatever that is because it's going to be darker than the bar. This is not dark enough but if I go and do it again I re-inked it and stamped again into the wet all of a sudden everything got darker it pulled more color off of the stamp because of the moisture there. And then I took my marker went directly to the paper to add a few more details and and just kind of increase the contrast in the windows. Now next is the silhouettes they have these new little people which would put in scenes be careful stamp them. I guess on a scrap piece of paper make sure they fit size wise into whatever the scene is that you're putting on so you don't want like I guess you could have something with little mini people in it. Maybe it's a fantastical scene, but I've stamped them first in blue and then I wanted to stamp them in brown as well.  So I have brown on the top of the people's heads and blue at the bottom and watch what happens to it. Once this is dry like the little people on this made me so happy because Once I start just moving that color around a little bit between them and just letting the water kind of push the color around. And it dries wait till you see what they look like they're just amazing I wish I could paint people into my scenes into my fine art paintings that looked as good as these end up looking. And I gave them shadows going in the same direction as the fence shadows so even kind of going up across that little hillside and angle. And then I got out some new trees from art impressions have these new little trees and they're very tiny so they're going to fit these scenes more. A lot of the other stamps you may have from art impressions may be too big some of those things are going to be giant and they're going to look huge compared to these little teeny tiny barns there's also a set of little houses. And so be aware of the scale of what you're using and make sure that that's going to fit so that they look realistic. Et cetera, but you can also for trees, you can use little foliage and stuff for these just use it carefully and test out which one's going to be size that's going to look like a tree. So I use my brush to add a little bit of shadow to the bottoms of the trees and then painted some water into the sky area. And i'm just dropping in that blue color not really you know trying to be real specific about making scallopy trees just letting the the pigment move in the water. And just go where it wants to and it starts looking like clouds, I am going to trim this down so not really too worried about where it ends on either side. But you can decide if you're going to trim it down, or if you want to have tape around the edges, so you have a nice crisp edge kind of whatever you're looking for in the card that you're making. But look at those little people look how they came out isn't that gorgeous how the brown the blue mix together and they just look like there's a reflection coming up from the snow I just love that.  This is the one that has the little stones and the river and I added some people and a dog to this silhouette set. This is a totally other set that has a gazebo and there's a dye that goes with it as well I painted it so that it's a snowy scene, but you can use it all year long. And all of these, of course, I did winter themed I tried to see if I could make the new rocking chair look like it was covered in snow. And I add a little container with it just because I needed another element in there and this window has no flowers in it, but I tried to make it look snowy and wintry.  A lot of these come with dies now so you can see them all over my blogs little pictures of them and check them all out and that's about it. That's all I have for you today. I will see you again another video really soon. Have an awesome day. Go make something beautiful. Bye bye.


Hi guys, it's Sandy Olav, artist and paper crafter here on YouTube, and I'm going to do a reindeer under a pine tree in watercolor. A lot of folks want to learn how to do scenes, but they want to do some simple scenes. And there's a lot of reindeer stamps. This one's from Girdis Steiner, cute little reindeer with lots of lights entangled around his antlers. And I've stamped my sentiment kind of kitty wampus up there. And I'm going to do something that I did in the blue-footed booby card that I did earlier this summer, because it was a lot of fun. And it'll be a great way to do it as well on a Christmas card. It also is a way that you can use those stamp sets that have multiple words in the sentiment itself. But you don't really want to worry so much about getting everything perfectly straight. If you're not using a misty and you're just going to use your block to stamp them and you're not stamping them really straight, if you make them purposely a little bit kitty wampus and do the signage that I'm going to do with them, it's a great cheat. So there you go. I am just watercoloring my little guy here and just adding other colors to him, trying to decide how much of the darker brown versus how much of the Quinacridone burnt scarlet that I want to use in there, or burnt orange, sorry, and a sepia. And then I'm going to use whatever's left to make some signage. And I'm just scribbling over top of them. You could actually do that portion after drawing the lines on, which I'm going to do later. But I tend to like to do the watercolor portion first because then it gives me a little more control over where my lines are going to be when I'm drawing on a card, but I'll also show you another way to do it as well. Mix up some other colors to use for the antlers. I'm using some Quin, let's see, that was Quin Gold, which is no longer going to be made. Just so you know, Quinacridone Gold is out. There is no more pigment left. I'm very sad and heartbroken. However, there's going to be a replacement. I just have not seen the replacement yet. So hang tight if you are a Quin Gold lover. I think I have like eight tubes when I heard that they were not going to be making it anymore. I stockpiled, but there you go. So now I'm going to start coloring in all of the things that are hanging off of his little antlers.  I'm not going to do major shading or anything on this because the focus is going to be on the fun tree and the scene that I'm going to be creating. I just want to give enough interest to each one of these little things that it's not going to be boring when you look at that portion. But there's just a little tiny bit of variance in color in my reindeer. And then I'm just going to leave these sparkle highlights.  And that would be another way to approach something like this. Sometimes that's easier than trying to leave a little bit of a sliver of a highlight. I'm using a number eight brush, by the way. And I tend to use the eight and the twelve most. And when I'm doing little images like this, I can get that brush. Really, it's got a super fine point. So even though it might feel like a large brush, if you're used to a two or a four, it's going to give you enough to work with of a point. Now the snow that I put under there, the brown wasn't completely dry, so it started bleeding. So I wiped it off with a baby wipe. Thank you baby wipes for being able to do that. And switched over to working on the portion that was dry, which is the signage. And I'm taking a Sharpie, you can also use a micron pen, anything that's waterproof. And I drew lines around it. And then I started drawing the pine tree. Now a pine tree is really easy to draw just the trunk of a pine tree.  And what I ran into here was that the vertical lines were running into the same place where the lines of the stamp were. So I started adding more lines in there so that I could move it away from being the edge of the tree, being at the edge of where that line is. Because I wanted that to not look weird. So when you're drawing something, think about what elements are around it so that you don't end up creating confusion in the image itself. So I'm just drawing random, squiggly lines. I've talked about when you color wood, if you use a dark color with it, you're really going to get rid of a lot of the squiggly lines, but it's going to give you enough texture to make it feel like it's wood. And that's going to be the same thing here, using a lot of sepia, which is a nice dark brown, and painting right around all that. Now if it hasn't dried yet, you don't want to paint this portion because you don't want all that brown seeping into your beautiful bright colored ornaments and lights on the reindeer. So just keep painting around each one of these edges and finish it off. And if you end up with a color that's not as dark or brown, you can always tap in some more color. You can add a little bit of maybe some black in there. The black in my palette is the leaner black. And now the reindeer is finally dry enough that I could put his nose in safely. I don't want his nose to bleed all over his face because that would be bad, right? And now I wanted to work on the pine tree portion that's going to hang down. And if you make the pine tree take up much more of the card than this, then you can actually add some snow over it. I opted not to add snow in this particular picture, snow coming down from the sky at least. I'm using the sap green pigment a little bit thicker for these first few branches. And I'm trying to have a few, you know, kind of fussy edges on a few of them. And it's possible to do as you can see with the number eight brush.  Just make a few of them enough to start feeling like you've got a little pine bough there. And then I added more water. So adding more water to it is going to give me a lighter color. So I'm going to have a two tone kind of tree going on here. And I'm going to carry it out a little bit further so that those branches in the front both get softer as well as they look like they're in the front. There looks like there's a difference between the colors. And I'm still going to try to have some of those fussy pine bough edges on the very bottom there, which will still look really cool. You could put the thicker, the heavier, darker pine boughs on top of the whole lighter area. You could do the reverse. I wanted them to be really soft and want them to be super hard. You can also draw them, draw some details in with a pen as well if you wanted. I decided I needed a little bit of color in the background. And I was mixing up some blue and realized that my blue had a little bit of green in it because I had not washed off my brush all the way. So we have a blue-green background, which, you know, sometimes life happens. That's just the way it goes. And I'm adding just a little bit of color from the snow line upward. And I'm pretending it's the forest back there instead of a blue sky since my color went AWOL on me. And I'm using a little Manganese blue to try to do this. And Manganese blue is very soft and the color can be very, very blue unless you touch it to green ink, or green ink, green paint. And then you end up with issues. So welcome to my world. I wanted a little bit more color, a little stronger pigment. So I touched a little bit of that puddle of phthalo blue. Phthalo blue is a really strong color, so be super careful if you use much of it because it will take over and it also is going to be hard to get rid of. But I'm just throwing a little tiny bit of that into my pool of Manganese. And so it made it just a little bit stronger blue. Gives it a nice contrast to my weird blue-green background. So just adding a little bit of snow down below. And just kind of tidying that up a little bit, trying to figure out exactly where I want my brush strokes to go to make shadows. Don't stress out about a lot of it because really if you're making a little bit of light blue down there at the bottom, people are going to read it as snow whether or not it looks like the place where the shadow really should be. But blue communicates like something cold to people. So you're going to be fine even if you don't put it in some kind of a perfect location. I wanted to add a little bit more intensity to the color on the signage. So I'm just adding some lines on there and letting some brush strokes show so that it feels a little more like wood. And using a couple of different colors because your different panels of wood can look like they're from different types of wood. And there we go with the finished card. All done and cute. I mounted it with some dimensional adhesive onto the card base and rounded off the corners at the bottom. And put some glossy accents which you can't really see there. But there's glossy accents on all the ornaments and on his little nose. Thank you so much for spending a couple minutes with me here on YouTube and I will see you next time. There's more videos you can watch. If you would like be sure to subscribe. If you haven't yet already and I will see you next time. Have an awesome day. Bye bye.


Okay, so we have a model for adsorption. This lattice model where molecules can either be adsorbed in one of these lattice sites on the surface or up in the gas phase. We've written down a partition function for what the partition function looks like when n of the molecules are stuck to the surface with an energy of epsilon for each one of them out of the total m different surface sites in total. So if we want to understand how many molecules are adsorbed to the surface or how that depends on the experimental parameters like pressure and temperature the easiest way to proceed would be to say since we're going to have an equilibrium based on what we know about equilibrium we can say the chemical potential of the molecules in the gas phase must be equal to the chemical potential of the molecules adsorbed to the surface when the system is at equilibrium. We can understand what each one of these is. In the gas phase we know the chemical potential of a gas standard state chemical potential plus kT log of the pressure of that gas over the standard pressure the pressure at which this is the chemical potential. In our case mainly to make things simpler qualitatively simpler we're going to assume we're working under conditions where the standard state chemical potential is zero so we can ignore that term. Basically we've chosen a zero of energy such that the chemical potential is zero for the gas in a standard state. For the adsorb species we can also write down a chemical potential. That's going to turn out to involve a little bit more work. The chemical potential of anything is derivative of one of the energies with respect to the number of molecules. Remember we're talking about the number of molecules adsorbed on the surfaces capital N so we want to take the derivative of an energy maybe energy or enthalpy or Gibbs free energy or in this case Helmholtz free energy with respect to number of molecules. We can take the derivative with any energy we want as long as we're careful to hold the right things constant. A, the Helmholtz free energy is going to be easiest to write from our partition function so I'll take DADN we just have to make sure and do that. Normally we would say DADN at constant temperature and volume if we were talking about a three-dimensional system but in this case since the system we're talking about is the molecules stuck to this surface, this two-dimensional surface the two-dimensional surface doesn't have a volume it has an area and the way we're characterizing the area of the surface is in the total number of sites that the surface has. If I double the surface area of this surface to which the molecules are absorbing I'm doubling the total number of sites to which the molecules can absorb so I'm going to want to do this derivative at constant T and constant M this is the equivalent of the volume for the system that we're talking about. So like I said that's going to take a little bit of work to figure out what DADN is equal to so let's start working on that. If we know a partition function we can calculate a Helmholtz free energy it's minus kT log Q since we know what Q is I can write the Helmholtz free energy as minus kT times the log of this term this partition function I've got various terms being multiplied and divided so I'll break apart that product of terms the log of this product is going to be the sum of a bunch of logarithms so I've got log of M factorial in the denominator so with a negative sign I've got log of N factorial and I've got a M minus N factorial also in the denominator log of M minus N factorial and lastly I've got log of this E to the minus N epsilon over kT so log of E to something is just the exponent and epsilon over kT alright so that's what I've got for the Helmholtz free energy seeing a log of something factorial makes you think hopefully that we should be using Sterling's approximation and that's what we'll do next log of M factorial using Sterling's approximation is M log M minus M log of N factorial is N log N minus N the negative sign turns that into negative N log N minus a negative N likewise minus log of M minus N factorial is minus M minus N log M minus N minus a negative M minus N and I still have this minus N epsilon over kT alright so now that's simple enough that it's expanded enough that we can start to simplify it a little bit looks like I have a minus M term here and a positive M term there that are going to cancel I've got a positive N and a negative N they're going to cancel and that's all I've got that's going to cancel for the moment so I'll just leave that that's my expression for the Helmholtz free energy can't simplify that too much more Helmholtz free energy is not really what I was after in order to do this equilibrium problem I need to take the derivative of the Helmholtz energy with respect to N so let's go ahead and do that if I take DADN at constant T because there's some temperatures that show up here and at constant M which is our equivalent of volume that's going to be kT so the M terms, M's being held constant so these derivative of this term goes away because M is constant derivative of minus N log N I've got using the product rule minus log N if I take the derivative of this N and if I take the derivative of the log term minus N leaving that one alone derivative of log is 1 over N similarly I can take the derivative of this term minus M minus N log M minus N with respect to N so taking the derivative of the first term minus minus N becomes positive 1 times log M minus N I'm going to leave the M minus N alone so I've got minus M minus N derivative of log M minus N is 1 over M minus N but chain rule with the negative sign in front of that N means I need to bring out another negative sign and lastly derivative of minus N epsilon over kT with respect to N gives me minus epsilon over kT and again we've got some cancellation that's going to happen N over N is 1 with a negative sign M minus N over M minus N is 1 with a positive sign so this entire term cancels this entire term so what I've got now is minus kT times so I've got two different log terms negative log N and positive log M minus N so I'll combine those the sum of these two logs or in this case the difference of these two logs becomes the log of a quotient so on top with the positive sign I've got M minus N and then the bottom with the negative sign because of this negative sign I've got the N so I've combined those two log terms to look like this and I'll just leave the minus epsilon over kT alone alright one more simplification to make that's you might think we can distribute this kT inside the brackets here we certainly could do that and it might make it look a little bit more simple but I'm going to save this kT because I know it's going to end up cancelling that kT the one other simplification that we can make is if we take a look at these variables M and N those are both extensive quantities in our problem M is the total size of the surface the number of lattice sites on this surface N is the total amount of molecules that are stuck onto that surface so what's more useful experimentally is not the total number of molecules on the surface but what fraction of the molecules on the surface what fraction of the sites on the surface are occupied by molecules so if a total of N molecules occupy M sites that's the fraction of sites that are occupied on the surface so we'll call this the surface coverage that's the variable we're going to often prefer to work with if every lattice site is occupied by a molecule then the surface coverage would be one or a hundred percent if there's no molecules on the surface N is zero so that's zero percent so somewhere between zero percent and a hundred percent coverage is this ratio so since N over M is a useful thing to calculate let's rewrite this fraction M minus N over N let's take each one of the terms in that fraction and divide it by M so on the top I've divided by M on the bottom I've divided by M and that's all I've done in this rewriting and then now that I've got N over M showing up I can rename that to be theta my surface coverage M over M is of course just one so this fraction becomes one minus theta on the top theta on the bottom so that's what I've got for DADN which is the chemical potential of the adsorbed species so now I can go back to after all this work on the side I can go back to this statement that the chemical potential of the gas this term involving the pressure must be at equilibrium to the chemical potential of the adsorbed species the term that I've just obtained over here so that tells us chemical potential of gas KT log P over P naught must be equal to this term minus KT log one minus theta over theta minus epsilon over KT alright so far so good as promised a KT over on this side I'll cancel a KT over on this side and now I'll bring this negative sign in and distribute it inside these brackets and I think this will probably be the last writing of this equation I'll get log of P over P naught on the left negative log instead of writing negative log I'll flip the argument of the logarithm so it's positive log of the inverse of this fraction theta over one minus theta and the negative sign applied to this epsilon over KT term turns it into a positive epsilon over KT alright so that is probably a good place to stop for the moment what we've obtained at this point is a useful equation this tells us a relationship between the pressure this gas of molecules that are not adsorbs onto the surface has some pressure we're doing this experiment at some temperature the molecules when they bind have some binding energy epsilon and a certain fraction of the surface will be covered by molecules so depending on which variable we want to solve we can understand how the surface coverage depends on the pressure and the temperature or we can understand how the pressure depends on the surface coverage and the temperature here's a nice thermodynamic relationship between the pressure the temperature and what fraction of the surface is occupied by molecules so we what to do with that will explore what that equation means that tells us about this adsorption process a little more in the next video


Global climate change has caused drought events to become more frequent and severe in southwest China over the past century. These droughts have had a negative impact on the environment and economy of the region, and it is essential to develop strategies to reduce their effects. This article was authored by Ying Wang, Yuan Mo Wang, Yan En Chen, and others.


of Contemporary Design, and we're here to celebrate storytelling. We have a really fun event planned. There's going to be three micro lectures by fascinating personalities, including myself. And those will be interleaved with hyper-competitive cutthroat rounds of design trivia, led by the great Adam Kesner, this evening's Minister of Information. And we're going to have a book signing upstairs. We'll keep the shop open for you to do your holiday shopping. I sure hope you're a member because it's cheaper if you are. There'll be more opportunities for a glass of wine. We're going to be giving out prizes for the top scorers in the trivia game. There's also going to be a prize for the most creative Instagram story. So if you know what that is, you're one step ahead. Be sure to tag your story at Cooper Hewitt so that our amazing social media guru, Greg Gessner, can pick the winner tomorrow morning and send you, guess what, a free book. So tonight's talks, I'm going to talk about my book, Design and Storytelling. The amazing Peter Mendelssohn, who has designed, probably read in the last five years, will talk about his work. And Dan Venne, sound designer from Manmade Music. Dan Venne is going to talk about what he does, which is storytelling with sound. I wanted to say a very special thank you to my colleague, Susanna, tonight, who really organized this event and made it as creative as it is. She found Adam Kessner in Brooklyn. You know it's cool. She's our public programs coordinator. This is her last public event here, and I think it's going to be her funnest and most creative. So every time you laugh, thanks. Susanna Brown, thank you. So I'm going to just start for a few minutes and tell you about this book called Design is Storytelling, which was published by Cooper Hewitt and came out two weeks ago, hit the newsstands if those still exist. Writing a book is a really awful experience. It's like being pregnant for two years. And when you're done, you want to have an apesiotomy for your brain. Ladies, you know what I mean. And there are moments of incredible self-doubt and pain and times when you think maybe you shouldn't do this book at all. I was at a conference in New Orleans about halfway through this project sitting with some hip young people talking about what we were doing. And one of the young men asked me, well, what is your project? And I said, I'm doing a book about design and storytelling. And he looked very concerned. And he said, have you heard about the mantle of bullshit? And I had not.  And Stefan did not like this. He felt that roller coaster designers design roller coasters and trying to call it a story is kind of phony. You know, it's like trying to add sauce to your pizza. And I felt very worried about this. But I watched the video and got some lessons from that. But the more I thought about it and the more I soldiered on with my project, I thought, well, stories and roller coasters do have something in common. So there's a very famous diagram of the structure of stories that many writers use and that we use to really think about how to create energy in a story. And so a story, it starts out low and you have an initial situation and the energy builds. Literally, you're collecting energy as you move to the top and you hit a climax. You go down the other side and it looks kind of like a roller coaster. And that's what Grant Snyder thought when he made this amazing illustration from the New York Times book review that he let us use in our book. I love this and it takes you through all the kind of cliches of what can go wrong in a story and turns it into a wonderful theme park.  And it turns out that human beings actually are attracted to a lot of things that have this shape.  Sexual activity when it works out can be like that. I'm kind of wondering about the Twin Peaks here. I want to call up the scientists and say, girlfriend, you got to share your research with me. I'm not sure about that part. And if we think about design and design being the representation of action but also an invitation for users to perform an action, many of the things that we do every day have been designed to have this kind of cycle of beginning, middle, end. That's your desktop on a Macintosh computer. And we could change the way it ends. You know, this is maybe for the age of Elon Musk, a new interface design. But we have that sense of an ending, right, of something coming to a completion. And so many things that we love and encounter every day come in threes, beginning, middle, end. I collect pictures of trash cans. Please send them to me. I really do want your pictures.  And designers have created all these different openings to kind of invite your action to get you to put your trash in the right place. This version is Cooper Hewitt's and it's kind of a Bauhaus version. This one always looks kind of naughty to me. Like put your junk in one of these openings depending on what you're into. And lots of other things have that kind of arc. This is a diagram of the sound envelope. And every sound has a shape. It enters the world. It literally builds energy. It has a period of sustaining and time and disappearing. And when you edit sound, you're actually looking at that arc. So one of our presentations tonight is all about sound and telling stories with sound. And that's celebrating the opening of one of our exhibitions upstairs, Here See Play, which is about designing with sound. And Dan Van designed the sounds with his company Man Made Music to really invite the public to explore designing with sound. So we'll hear from Dan shortly. His theory of the sonic burrito. You can learn more about upstairs. And this is a book cover by Peter Mendelssohn, which takes this idea of threes and beginning, middle, and and basically shows you what a slave you are to language and numbers. I just love this thing. It's such a great story with an inverted plot. So I'm delighted to welcome Adam Kesner to challenge your brains in a deadly round of design trivia. Thank you. I'm going to turn that up. All right. So what I'm going to do is I'm going to ask some trivia questions and you are not going to get all these questions right. Trust me on this. I'm going to ask a question.  And then at the end and then after each question, we're going to find out what the answer is. So we're going to do this quickly. Question number one. We're going to talk about Saul Bass to begin with. Saul Bass perhaps is most famous for his collaborations with Alfred Hitchcock for one point. Name any two of the Alfred Hitchcock movies seen here that Saul Bass was involved with the credits for. Any two of the three will get you the point. I know it says three. We're making it a little easier. Trust me. You'll be happy with that later. All right. So we'll take about 15 seconds. Sounds about good. This is where we'd have game show music if we were. All right. We good? All right. Everyone take your final guesses. Pencils. Yes. Pencils down. These three movies, Vertigo, Psycho, and North by Northwest. And of course in that order, it's Psycho, North by Northwest and Vertigo just to make it more confusing. All right. Question number two. Question number two. Oh, it's a great picture. A few years ago, this high school student made news with his science project when he figured out that the government can save $370 million if they changed all of their fonts from Times New Roman to what font seen here. What slightly thinner Sara font would save the government $370 million? Well, you can see Times New Roman is still in Times New Roman. Everything else slightly thinner. Yep. It's a font you've all got on your computer. Take about 15 seconds. Take a guess. Right? Do-do-do-do-do-do. All right. We good? All right. What would it be? Garamond. Yes. I like seeing the fists up. I like seeing you got it. All right. Things are going to get a little bit trickier here. Here we go. Question number three. Question number three. Luchia de Respinis is an industrial designer who among many, many, many other things. She teaches at Pratt. She's designed clocks with George Nelson. But we're going to talk about a logo she designed for a company in 1980. A logo, 12 letters in pink and orange. Yeah. You see it every day. You might have purchased something from this company at some point today. 12 letters in pink and orange. Technically, I think it's 12 letters and an apostrophe. For one point, what famous company's logo are we talking about? Oh, it's a sweet question and a sweet answer. That might be a hint. All right. How do we feel? We feel we're good? Have we taken our guesses? That would be... Oh, I should have gone to that. Dunkin' donuts. Dunkin' donuts it is. Pretty sweet. All right. Question number four. Getting tougher still. This is our sports question of the night. Oh, yeah. We're talking about the iconic logo of the National Basketball Association. You see it right there. And not only do you see it, you see the man that the logo was based on. And L.A. Laker Hall of Famer, whose nicknames, among other, include the logo. Yeah. Also the clutch and some other ones I don't remember. For one point, I can give you a hint if you need on this. Yeah. Y'all need a hint? All right. I'll give you his initials. How about that? Yeah. That works. J.W. Right. If that was going to help, that was going to help. This is our only sports question of the night. But now you can go home and say you know this. All right. Take 10 seconds. Write down any names that you can think of that start with J and W. You might stumble onto it. All right. I see some final guesses being taken. Jerry West. Jerry West. Jerry West is not here tonight with us. But Jerry West, somebody did get that question right, which means it was worth it. All right. Last one. Last one. You're going to hate this, but I love it. Perhaps the most iconic logo you've seen today, the Google logo. You've seen it multiple times today. And you can see right here. This is all gray. I would like you to tell me the colors of the Google logo. Yeah. In order. You want a hint? I'll give you a hint. I'll give you a hint on this. Two of them are red. Two of them are blue. One is yellow. One is green. I know. Just put them in the right order for one very tough point. I know this one's a thinker. I'll give you a couple extra seconds on this one. Again, two red, two blue, one yellow, one green. And that, of course, is not the order of them. I would not give it away in the question. All right. I see some counting going on. I like it. All right. Take the next five seconds to get your answer locked in. We ready? All right.  That would be blue, red, yellow, blue, green, red. And that, that was our first round of trivia. We have two more rounds. They're going to be happening after each presentation. So now, hello. I think that's you. And you're using, do you have the mic? You guys hear me? Hello. Can you hear me? Hey nerds. How's it going? Did anybody get all of those? Hey. So I'm Peter Mendelson. I'm a book designer and writer.  And I didn't see that this was design and storytelling. I didn't know there was a theme. And why I'm a moron is because I actually wrote a book about design and storytelling called What We See When We Read, which is a phenomenology of the reading experience, how the images that we concoct in our mind sort of are co-produced with the authors of books and how narrative is built through imagery, et cetera, et cetera. But I'm not going to talk about that. I mean, I'll try to tie in the things that I have up on screen with the idea of design and storytelling as best I can. Actually, as I was listening to Ellen talk about her amazing book, I was thinking, can design be storytelling? Because doesn't storytelling imply that something exists in time and I sort of got indignant in my own head? But then I saw the cover that Ellen put up of my own No, I'm going the right way. I'm going backwards, right? I saw... No, I skipped it. Yeah. No, I saw this cover and then all of a sudden it occurred to me that design does in fact exist in time. And, yeah, it does unfold. But it's really... It unfolds for the viewer in time, even though it's static. So I realized there is kind of an inherent drama to design in there. Anywho. So I have a bunch of stuff here. Most of it is... Oh, my God. I don't know how to use a clicker. Most of it's recent work. And then I have one thing where I can sort of drill down into one particular process of designing a jacket for a book. Maybe I'll just go through the recent design real quick so we have time to do the process stuff because people tend to like that, right? Okay, so I'm Peter Mendelssohn. I am a book designer. I've been a designer period for about 15, maybe 16 years now.  I started playing when I was four years old. I haven't stopped playing. I still play all the time. But I stopped playing professionally after conservatory when I was around 32 years old when my first daughter was born. So design still represents a pretty small fraction of the time that I've been on the earth. I haven't been doing this a very long time and I know very little about it which is why I did so poorly on that quiz. But, so anyway, I worked at Knopf, which is a publishing house for all of those 15 years that I've been designing this year. I've just left recently. And when I was there, there were certain things I was sort of known for this being one. And I did a lot of covers for books on what we call, in publishing the backlist, which is sort of the canonical classics in paperback. And I loved working on those because for a bunch of reasons, one of which is just a huge bang for your buck. You know, I have to do a huge amount of reading when I'm designing book covers. And not all of that reading is great. So, the other thing is that the authors are dead so they can't object. So, and these. And I also worked on a lot of literary fiction things like this. And occasionally, things, magazines, covers, stuff for newspapers and music and whatnot, but mostly books. And I'm still doing book cover design. Recently, David Sideris asked me to work with him on actually all of his books. We're redoing all of his books. This is his forthcoming collection, Calypso. And the titular story, Calypso, it's a sort of a throwaway line. But in the way of David Sideris' stories, sometimes the throwaway lines are the best. But he mentions a friend of his who belongs to something called the Wood Interpretation Society. So, as soon as I heard that, I was just, oh God. And that led to, that project led to doing the rest of his books in paperback.  I mean, I broke literally every rule here on this one here. But they used to make books like that. So, and I work for all different publishers. There's a freelancer now for Norton, two other books from Norton. For Grove Press is one I was working Rachel Kushner's new novel. Actually, I said something to her on the phone about a month ago where I was asking her what she sort of wanted for the cover of this novel of hers. And she started to talk in these very big sort of thematic terms. And I said to her, actually, well, you know, a cover has a plot too. So, just, yeah. See, I'm agreeing with you just slowly over time. I'm just getting there. The Japanese publisher, I'm still the art director on vertical press. This is the guy that did the ring. It's gross. Another book for them. I still work for Knopf and Pantheon. This is a series of fairy and folk tales, which is sort of reimagined in kind of abstract and totemistic terms. New Directions, which is my absolute favorite client. They do a lot of literary fiction, a lot of books in translation. They let me get away with doing weird portraits like that and not putting any type on the cover. Things during the center of the night and putting a tongue on it, which is also gross and fun. I get to paint, which I very much enjoy and didn't really get to do that much and work on books that I've loved forever and ever. And here are more of them. And I get to have a goat on a cover, which is also fun. That's a one-off for me. And here, okay. So, about how much time do I have? Okay, I was saying to Ellen that I'm a little bit a little agorac and once I get on stage and I start talking, it's very hard to stop me, so somebody's gonna have to tell me when I have... Okay, do I have five minutes? Okay, great. Okay. I'm also a little manic. So, let's see. About three years ago, do you guys know who Italo Calvino is? Raise your hands if you... Okay, excellent. That's great. For those of you who do know, it's shocking that often I talk about this and people have no idea who he was. Who he was, for those of you who don't know, was one of the great 20th century novelists, literary critics, publishers and editors, and one of my all-time favorite authors. I read his first book when I was in college, when I was 19 years old and was just totally besotted with him. He was Italian, although he lived a fair amount of his life in Paris. And he wrote a lot of books. And about three years ago, I saw his name in my inbox. He's been dead for quite a while. It was his daughter, and she had seen some of those backlist titles that I was just showing you and had liked them and wanted to know if I wanted to work on her dad's stuff. There's 26 books, I believe. And when my feet touched the ground again, I said, absolutely.  I'll try to talk you through them a little bit. So I think the important thing to know about Calvino is that for his fiction, at least, he wrote in a wide variety of disparate styles, the first part of his life in sort of a stripped-down, kind of Hemingway-esque style, the middle of his life in what I think of sort of a phantasyster, fabulous style, he was very interested in the folk tales, and a lot of his books of that period are, in fact, folk tales. And the last period of his life, which is a very experimental and playful period, kind of metafictional period. So it was a bit of a challenge working on these books because you're representing the oeuvre of a guy who was a shapeshifter and a table hopper, but that's one of the things I loved about him. Anyway, so you're designing a cover for somebody who writes books that often draw the reader's attention to the artifice of reading. He'll always remind you that you're reading a book. That was one of the games that Calvino loved to play. One of his most famous novels, If on a Winner's Night a Traveler, begins you are about to read If on a Winner's Night a Traveler. Sit down. Are you comfortable? Do you need to pee? And so my first idea here was to represent the book with a book. And I had this idea of a catalog of 26 of these things sitting as if in an exhibition in vitrines. And then I thought it just wasn't clever enough. So then I thought, what if we took the old designs and just photograph them. Which was patently absurd, but would have been absolutely perfect for these books. But nobody was going for that. Here's another one of them. But so this is sort of what some of these could have looked like. But like I said it was a little too meta for them. And so then my next thought was, well what if I always like when there's very little throat clearing with a book. What I mean by that is wouldn't it be great if you could just start reading it in the bookstore if the first paragraph, the first lines were just there on the front of the book. So I started experimenting with that a little bit, but it looked kind of plain. So what if there was a little bit of imagery. So then I started experimenting with this idea of having the imagery just run directly over the text. But in the end I found that a little confusing. But then I had this really great idea. Let me see if I have this. Oh, I do. That's great. I had this great idea.  Okay? So there's a photograph on this cover, the photos of a table in a well-lit white room. Try to imagine this. On the table are several artifacts labeled with small tags.  Not obvious at first is the faint shadow of the photographer cast over the table. So that's what the cover looks like. So it's designed as storytelling, I guess you'd say. I thought of these as sort of ecfrastic, which is another thing that Calvino was great at, describing works of art. And honestly, I begged and pleaded for them to go with this. And I actually wrote covers for each one of these books. But they don't look good on Amazon quote, unquote. So this is one of the great tragedies of my book design life. Anyway, so back to this, I realized that actually the impact was really coming from the shape. So I pulled the shape out and then I just started experimenting with drawing things on the shape. And all of a sudden I realized that actually that line, I drew this other line and there was this sort of sword thing happening. And that actually opened up a whole interesting thing, this idea of an image that's sort of a duble entendre. So you have the trunk of the tree that's a ladder. This is a story about a boy who climbs up into a tree and refuses to come down because he doesn't want to eat his snails and lives in the trees for the rest of his life. So the rest of this process was spent just coming up with these sort of visual duble entendres. There's another book and I know I'm running out of time, so I'm going to be very fast. There's another book called Cosmo Comics and in that book there is a story in which a fantastical story in which an Italian village, they go out on certain nights of the full moon in boats with ladders and they climb up to the moon. So I started to experiment with oceans and moons and so they all work this way. This one's called Difficult Loves, so the heart you know a single line well it could have been worse and then the whole set kind of works that way. So you know you have a pepper with a crown and anyway. So that's that and the one that I was mentioning before where he addresses you directly as the reader are about to read, we made a mirror foil for the book so you actually see yourself in it and invisible cities this is very hard to see but the city is actually pressed into the paper otherwise there's no ink for it. So these are my two books they came out about a year and a half, two years ago this is the one on reading, this is the one on my work. I also am finishing up this other book which is about sort of the history of book jackets and book covers and how they mean what they mean and I just finished this this year. So this is a novel and Ellen's right I wanted a Pizziotti for my brain. It was a very trying year and a half but look for that in the fall and thanks for having me. I went really long didn't I, I'm sorry and I think we're doing more trivia now is that right? Alright so we good? Alright so round two round two we are back to trivia and since we just spent some time talking about book covers round two is our book cover round so I'm going to ask five questions about famous book covers, the history of book covers like you were talking. Alright question number one earlier this year Puffin teamed up with Pantone to release 10 classic children's novels each with a cover consisting of what they called the perfect Pantone color for one point what very famous children's novel was represented by PimaMass 12 a bright yellow oh yeah yeah so the other types they would do was the secret garden was just a pink and Anne of Green Gables was green what very famous children's novel had a solid yellow cover. I will say it does have something to do with the plot of the book alright so take about 15 seconds I got one more hint one more hint alright well I will say that even if you have not read this book you've definitely seen the film alright here we go take your final guess that would be the wizard of Oz the wizard of Oz yes it was the yellow brick road of course alright question number two question number two you don't need a big design to make a big impact every single one of Malcolm Gladwell's books are basically this cover with one small image on it for the tipping point it's subtitled how little things can make a big difference what little thing that can make a big difference did I remove from this cover yeah what little thing that can make a big difference did I remove from this book cover alright you want a hint yes it was a hot book it was a big hot seller that's a way to give a hint on it it was a hot selling book mmm that doesn't help yeah it really blew up I think that's another solid clue you ready a match it was a single match yeah it's hot it blew up I like those hints alright number three we've already talked about David Sedaris a little bit but we have not talked about this one and for the cover to his book when you are engulfed in flames the designer just used a 1890 painting called skull of a skeleton with a burning cigarette for one point what very famous dutch painter gave us this painting and this book it's cover I'll say if you can name a dutch painter you're already halfway there yes very very very famous in 1890 1890 so they're not here today alright you ready that would be Van Gogh Vincent van Gogh alright believe it or not this is where things get really tough question number four question number four we're talking about modern book cover design up until the late 1800s book covers were not illustrated that started basically with this quarterly literary periodical with illustrated covers by Aubrey Beardsley for a very tough point yeah something I remember a little bit from art history and then for one point what late 1800s literary periodical had Aubrey Beardsley covers you want a hint it was called the blank book fill in that blank get a point I mean fill it incorrectly just give me any word the book book it would be good for this round it's a colorful name so now this is basically multiple choice what color book did Aubrey Beardsley design the covers for it's not black or white either I left the color out of it for this image alright you taking your guesses the yellow book the yellow book alright see they start easier and they get a little bit tougher as we go on here we got the final question in this round the final question in this round we're going to end with some real cover designs for some fictional books in the 2014 movie listen up Phillip, Jason Schwartzman and Jonathan Price play authors and throughout the film we see their book covers for one point what famous designer signed all of the book covers from listen up Phillip I think he's a friend of Peter's right so you just took a picture to send to him don't give my wife any questions oh okay yeah I guess if you know Peter's friends then that'll help alright take another second or two good on time here we go Teddy Blanks that was Teddy Blanks and that I believe brings us to the end number two we got one more round coming up hmm oh did anybody get all of them do not worry about not getting all of them we went through these questions earlier and Ellen did not get all of them and if Ellen's not going to get all of them then nobody's going to get all of them alright so I'll be back for round three in just a moment but now so much like much like Peter I too kind of dropped the ball on this whole design as storytelling theme but I think that's okay though because with music the analogy to storytelling is a little easier leap than let's say book covers so I want to talk a bit about the role of sound in design and experience but I think first it's Ellen introduced me as the sound designer for Trashbot and I wish I could say it was as simple as that because in my company that I work for a man-made music I work with a team of sound designers composers musicians you name it and so it just makes that question all the more complicated when my mom asks me what do I do for a living and I tell her I'm a creative director and a producer and so she says well what do you make and I don't really make anything I actually just I talk a lot and I get people to do the things that I ask them to do and then I judge them poorly or or well and then I say that's great let's get it in front of somebody else and then I don't take any responsibility so then it's also really complicated when I try and explain to my mom who I love very dearly what man-made actually does because man-made does so much more than just sound design although when I get into the meat and potatoes part of my presentation I want to talk really though about sound design products and experiences but man-made is a strategic music and sound studio we score entertainment and brand performances and once again that's one of these things that's really difficult for I think you know one thing my mom's like so would you make music yes but we do anything from if you see the AT&T globe up there we designed the bang bang bang bang that you hear at the end of commercials um it put my kids through preschool okay guys we've done work for the Alzheimer's Association in terms of developing music that talk about their mission if you go to see an IMAX movie the countdown sequence that you see there that's us we've designed that experience so we're about introducing you to that experience Hulu if you're watching Hulu Originals the three second thing at the beginning of Hulu Originals and at the end of Hulu Originals we design that we do a lot of work for NBC if you've watched the Super Bowl or Monday Night Football in NBC we score those experiences HBO if you watch feature presentations da da da da da da da da arrangements of that. Allstate, urine. That one? No. I could keep going. There's a lot, but we do brand and we do entertainment like that. For instance, Cartoon Network is up here. There's a theme park in Dubai. It's the biggest indoor theme park in the world. And we did the soundtrack for it just when you're outside, but you're actually inside.  And so in that case, we're designing an experience. I could go on, but I'm going to move on to just one small thing I want to talk about today is the role that sound plays in design and experience. So I could talk about a million things I could talk about branding, I could talk about scoring the experience, but I just want to focus in on sound as an element in design. And so if there's one thing that you guys walk away with from what I talk about, it's as you interact with devices, products, objects, experiences, I want you to think about what is the sound telling me what role is sound playing in this experience. So it's kind of more for you guys to think about. It's more of an open-ended question. So as I thought deeper about this, I've ended up putting this question, what role does sound play in design and experience onto a spectrum? I'm going to go through three things. Once I got done doing it, I thought, well, maybe it's not a spectrum, maybe it's like a triangle or, I don't know. But I'm going to go with the spectrum right now, because that's what I ended up with. And the first role of sound is feedback. So if I'm pressing a button, I'm interacting physically with an object, or I'm doing an action, that object, that experience, it gives me sound back. The next role that I think about when I'm creating experiences is sound giving me messaging. Is it giving me information? In other words, I didn't necessarily push something to get a sound, and I need that sound for feedback, but instead, I'm getting some sort of information given to me. And the last role in this just an adorable little icon that we found is sometimes the role of sound is to, this is like designers and it's super intimidating. The idea of that sound can have the role of giving a product or an experienced character. And so I want to drill down into like this continuum, if you will, of the role that sound can play in design. So when I think about sound and feedback, I can go back to an early analog of something mechanical. So before anything digital would have been part of the experience, feedback sounds were just inherent in that experience. It's about the physical experience, and we all know that kind of satisfying feeling that you can get out of certain physical interactions, especially when a product is made well. But as technology advances, we still have these button presses, we still have clicks, we call them clicks, even when our mouse doesn't make that satisfying click. But the role of sound in this experience is still really important. It gives us feedback that my input has been received. It's working, the device is working. And that's really, once the physical part of it moves away, it's then about establishing the connection in that experience. It's real easy to have a connection to something like a typewriter or an old school mouse, but once that physical layer is gone, how do I establish connection? And even a step further would be how do I establish connection if I'm doing something like with Alexa, right? No, I'm no longer touching something. Now I'm using my voice and the use of sound to give feedback saying your input's been received is something that we have to think about when we're designing products that no longer have that physical interaction. So in messaging, I go back to, I think, analog, and I think about the idea of bells being a very early way of sound in an experience messaging something. So I think about bells, church bells, they're telling me somebody's married, somebody died, it's 12 o'clock. Messaging in terms of sound is always on the present in alarms. In New York we know this quite well. Ringtones, alerts, thank you. So obviously your phone is a font of alerts and that's just, I'm not trying to say it's bad or good, but in considering sound and design, the role of it giving us an alert message is something we have a lot of, we probably get too much. But I think most importantly with messaging we're conveying some sort of information. So when I think about the role of sound in a messaging context, a lot of times it's going to be coded with information. But I think this image is interesting because I've been told that all airplane cockpits, no matter where you are, whatever country, they make the same set of sounds. So if you take a pilot in Mexico, you take a pilot somewhere in Russia, their cockpits in a commercial airline are going to make the same sounds. Because it's so important that that information maintains is the same across the experience. So I think it continues to get more complicated though as I go into the concept of character. So the role that sound plays in an experience can it convey the idea of character? And if it's just a person or if I go back to the idea of what's the analog voice, obviously voice conveys a huge amount of character, information around character. I don't always need voice though. I think sound can give character in a very expressive way. If you think about R2-D2, BB-8, Wally, Eva, all those kind of like classic robots that we think of that are super expressive, sound has the ability to give that sort of expressiveness. And the idea of intelligence starts to come out too. And I think this is really interesting as we interact with products and devices and experiences that are more than just I'm pushing something, I'm getting a sound, or it's sending me some sort of message. Now I've got the challenge of using the sound to convey intelligence and along with that the idea of personality. So this is like a still from the movie Her where the personality of this product is only through sound. It's only through sound but it conveys something deeper than just intelligence or being expressive. It conveys this idea of personality. So this is more just what I want you to take away from this first little thing here is as you interact with your devices, as you interact with products, experiences, be it your car, your computer, your laptop, think about what does the sound tell me here? Is it just giving me a feedback input? Is it successful in that? Is sound giving me a message that's clear? And this is sort of an open-ended question. I don't think every sound that comes out of a product at us, every sound that is programmed to just come at us is telling me a clear message on what I should do or is sound trying to convey some kind of deeper character in the experience. So I'm going to share just a little bit of work that Manmade did and just in this just through this framework. This is just a small sample of some of the stuff that we've worked on. The first thing is going to come at you really loud here but it's Disney Now. The interface for their streaming platform is you might know Disney pulled off all their content from Netflix and Hulu and launched their own platform and so we scored that entire experience. What you're going to see is just sort of a mock-up of what it looks like when you first launched the app on let's say an Apple TV. You're going to select it. It's going to have a musical score in terms of kind of greeting you to the experience but then you're going to hear these I guess what I'd call them feedback sounds that connect you if you think about you're sitting on the couch with your Apple remote and you're clicking through these choices. We're giving you sounds that are giving you that feedback but it also provides like an emotional context for that experience and it has to be right for Disney because it's Disney. So I'd select the app. You can turn up a bit. It's just a real quick example of feedback sounds but they don't have to be they don't have to be called down for the sterile. It heightens the emotion as well. Next one's going to be totally forgetting what it is. Once I find the designer who made this PowerPoint. Stuff for AT&T. These are product agnostic. In other words they're just generic light and sonic things for this. This welcomes you to an AT&T product when I turn it on. This is like a combination of feedback. Start a task and it tells me it's completed. This would be messaging tell me that this is going to sleep. Right. So you can kind of feel like my product's turned off is going to sleep. It's sending me a message that's very clear. This next one is sort of a combination of messaging and character. Under NDA I can't tell you the name of that brand although you can you may you may be able to guess what that is. What was interesting about that project and this would be really brief on it was when we started developing sound for this robot we were like this has to be just dripping with character. It has to be BB-8 and a combination of BB-8 meets Mary Poppins. It's going to be your expressive and sprightly helper. And we actually over-rotate it. We gave the machine too much personality and we had to kind of dial it back to a place where it was messaging me something much simpler. Interesting place to be. Last thing I want to show you is just something that people don't think about in terms of where sound goes into design. Working with a car manufacturer. I'm never sure when the NDA ends on this. I'm just going to say it's a Japanese car manufacturer and we got to do the sound for when the car is reversing which is obviously very much a message there saying get out of the way. But then we also had to design this sound for when the car goes between zero it's an electric vehicle. When the car goes between zero and 30 kilometers per hour it has to make a sound by regulation because we all know that experience when a Prius rolls by. You don't you're not aware of it because it doesn't make the internal combustion sound. And so there's an opportunity right regulation is an opportunity for us to put a sound in there that's going to obviously send a message saying this car is there's presence here. But we have an opportunity to define kind of the sound and the soul and the character of the car as opposed to just hitting regulations. So here's a little sample of it. Of course we developed like 50 versions of that to try and convince the client that that was the right soul of the car and hopefully you'll hear that sound someday on the on the road in the next couple of years and don't get hit by it. So that's it that's all I got. Thanks guys. All right and here it is the final round we're going to play at Trivia and it's a game that we just were playing.  This time it's going to be worth points. So here we go round three. We're to start off. Originally this was part of a Spanish classical guitar piece but this noise is now better known as a musical trademark of what company. Let's do that again. Yeah that is a it's a strident noise. It's uh all right have we taken our gases. Have we taken our gases. Are we good. That is the Nokia ring tone the Nokia ring tone. All right question number two question number two. Since 1982 this sound has been rattling teeth and letting you know that what you're watching was worked on by what company. That's right if you listen to that if you hear that that means that what you're watching has been worked on by what company. Ready. That would be THX. That is they call it the deep sound. The THX deep sound. All right question number three. We're going to go analog on this one. This trademark sound can be heard just around 500 times every calendar year. Where. One more time. And that's the only analog sound on our list tonight. All right take a moment. Huh. We'll be we'll be real generous with the place you would be if you were hearing that sound. It is in New York City. Yeah you personally could have heard it. Maybe. All right have we taken our guess. One more time. One more time. All right you're ready. That is the New York Stock Exchange Bell. So if you're at the Stock Exchange that counts. If you're at Wall Street I'll give it to you too. If you wrote Manhattan not not close enough. You needed to be closer on that. All right. Here we go. Question number four. A question number four. This is a sound you've probably heard at the end of any of the 626 episodes of what television program which has aired since 1989. And I know it says what production company. You don't need the production company. Just name the show. Name the show. It's been on since 1989 at 626 episodes as of this week. They've got their hints. All right. I know they're supposed to get tougher as we go on. You want one more time. We'll give you one more time. All right you ready. The name of that show. 626 episodes since 1989. The Simpsons. That is the Gracie Films logo that plays after The Simpsons. And we're going to finish things off. Here we go. Question number five. 300 million people a month hear this sound while doing what. That's right. What company uses this trademark noise. I'll give it to you one more time just because it's fun to listen to. It's better than the bell. All right. We ready. That is the Skype ringtone. That is the Skype ringtone. And that was the end of round number three which means. Yeah. Which means you guys are geniuses and you got everything right. Right. No. That's why we are going to give our prizes to the top scores of the night. So take the next five seconds. Grade yourself up. Honestly. Honestly. This is what we call the reckoning. So take five seconds. Grade things up. And then we're going to give away some copies of Ellen's book. All right. We had 15 points up for grabs tonight. Yeah. Did anybody get 15 points? Did not expect that. How about 14 points? I know we're going to we're going to move this quickly. 13 points. 12 points. 12 points. Whoa. Very impressive. 12 points. PhD. All right. Here we go. How about 11 points? Did any team get 11 points? Oh, this was you ran away with this.  Oh. 10 points. Nine points. There's a team with nine points. All right. All right. Eight points. Seven points. And oh, I think I think that's a what are we going to do for that? How many teams? One person on per team raise their hand. Four more books and all right. What a great evening. Thank you, everyone. This is super, super fun. I would have totally failed the trivia. So we have a little time that the shop is open upstairs. Wine is being served for a modest cost. There are copies of my books and Peter's books. The process lab which features the sound designs of man made music is open so you can try your hand at actually designing sounds for a robotic garbage picking up machine called trash bot. So check that out. And it's just so fun to have you all here and thank you, Susanna. This is all her idea. So we're really happy. Anyway, thank you to the great speakers and congratulations for winning prizes and just one note. So we're going to be wrapping up in here very quickly. So if you want to stay longer, we'd love to have you just head on upstairs. So the guest speakers are going to be heading upstairs too. So thanks so much and drinks are in the cafe through the bridge gallery through the shop.


What you guys asked me was tactics for playing on different surfaces. Now, when you guys play away, most of the courts are hard courts, astro, not so much grass and clay. Lots of hard courts. So, difference between surfaces, mainly, is the way the ball bounces and the way that you need to position yourself according to the bounce. So, obviously, if we're playing on a quicker surface, like an astro or a grass, the ball tends to bounce a lot lower, therefore quicker. So, if we're playing on a slower surface, like a clay or a hard court, the ball bounces higher and slower, so we've got a bit more time. With that in mind, because the ball's bouncing higher, we need to be a bit further away and position ourselves further back than we normally would. And on a faster surface, like an astro or a grass, actually, we need to be a little bit closer, because the ball's not bouncing up as high, so we're going to have to take it earlier before the ball drops. So, that's the key with different surfaces. Was there any other questions around surfaces that you wanted to talk about? There was a question on the hard courts, like you said, the back. So, it's actually in your face. Yeah, so in that case, it's very difficult. And what you tend to find is players that are used to playing on those courts are very good at taking the ball on the rise. Whereas, actually, we've got the luxury of having nice big backdrops at the back, and actually, we don't have to take the ball on the rise. We wait for the ball to drop, which is easier to do. Much tougher to take the ball on the rise. So, it's something that we can practice. Lots of the time, you'll find yourself, when you have a shorter backdrop, you're having to take the ball really high up here. We'll take it early, and it's out of your comfort zone. So, it's just something that maybe we need to practice a little bit more of. But most clubs tend to have a bit more space. And if they do have space, you've got time to get back, let the ball drop, and hit it at a nice comfortable waist type, or slightly higher. Okay, but yeah. Good question. It's the match at Stubbingston. And it was a hard court, and it was bouncing right up here. And they're all used to it. And I was in the face. Well, I didn't hit it. The only thing really you can do there is take it early, and try to take it before it gets too high. So, you know, as it's rising at waist height, not letting it get too high. So, in that case, actually, you do need to stand closer to the bounce. But it's very tricky. Cool. So, that's just a brief overview of services. We can bring it into our practice in a minute. We'll talk about it. Next one is how to play to own strengths and not let opponents dominate with their style. So, what you really need to do in this one. So, when we're talking about our own strengths, are we talking about the way we play as a pair, or are we saying that our strengths are like a forehand and a backhand? What did we mean by that? We prefer, I think, like, lower attacking play, don't we? Yeah. Some of the clubs, like... Moon ballers. Yeah. Okay, okay.  Yeah. Try to finish the point off quickly. I think, in general, it's probably safe to say that we all, when we play against better players that hit the ball well, hit the ball hard and aggressively, it actually brings the best out in our game, doesn't it? So, we can actually play good tennis because the ball's coming at a pace, and we can redirect it really well. The one is the moon ballers when it comes in very, very slow. The only thing you can really do about that is not get sucked into it. Try to hit the ball at a comfortable height. So, like we said, if you've got time, get back, let it drop, and hit your normal strokes, rather than fighting to try and hit the high ones. Hit it at a more comfortable height, and if you feel confident, take it early, but it's a tough one again. Playing against the moon ballers, the only way you're going to do it, coming into the net is another good way of playing against those players, because when they're hacking the ball up and up, their job is to try and keep you back.  They're going to give you a few smashes, but if you're confident in that smashing, absolutely fine. And they do tend to just lob it back. Lob it back. Well, we're not particularly tall, are we? No. Well, it's not that. It's not that. Even when it's back twice. If our partner was the one in the front, and say I'm at the back, and then they lob it over my partner's head, and then I go to that side, take that ball, my partner then goes across to the other space. Should that partner then come back a step, sort of like towards here, rather than staying closer to the net? If I'm here, volleying. I'm in the back there. They've lobbed me. Even comes across to cover me. We shout switch. Now, some people shout switch. Sometimes you can just see, but if you need shout switch, it's good to shout switch to make it clear. Some people would just stay there. Once that shot's gone back, we can see if that's been a really good lob, then actually, this player will come in. If you've hit it well when you've covered me, you'd come in, and I would come in too. If you've hit a really weak shot, that's when I would go back. So it all depends on how that shot is hit. Good loads of questions. Okay, here's another question then. So next question. I was quite far away from the net here. I was stood here. Are we all happy with how close to the net we should stand when we're playing? Okay, just a quick one then. So I tend to say, don't ever stand behind the service line when you're the volley player. Don't even stand near the service line. We want to be in the service box. I notice quite a lot of us stand back here. The risk of this is the ball coming and landing at our feet. So ideally, if we're in a neutral situation where neither of the teams have an advantage, so it's just kind of like a rally, the volley player should stand halfway up in the box.  If your partner behind you hits a really good effective shot, and they're under a bit of pressure, you're going to move into the first quarter of the service box to be ready to kill the point. If your partner hits a weaker shot, you'll move to the back quarter, to about here, because it gives you more time for them to hit their faster one-cutting shot. So during the point, your position will change. If they've hit it really well, move in, look for intercepts and hit the volley. If they've hit it really weak, move back and be ready for a more defensive shot. The priority is to win the point, isn't it? So although you can see the line better, I would focus on what you're doing to hit the net shot, rather than worrying so much about calling the ball. Of course, that's important. On the clay course, we can see the bounce after which it's flying. Here, you can still see the line, so I would prioritize playing a good point over worrying about calling the ball in and out. You'll be able to call it. If you're playing singles, that person's got to call it the shots anyway.  So I would stand in here. Going back to the previous point, you were standing in the middle, and your partner would have played the shot, and it goes sort of like high, sort of like towards the back. Would you stand back because you think they're going to smash so that you get more time? Or would you stay sort of like closer to the net because it was a good deep shot? So if you were playing against Ingrid, Ingrid to blast a 150-mile-hour smash, so no, depending on who you're playing against. If you were playing against Andy Murray, stand back. So just gauge the opponent. Yeah, another good question. I'll quickly go to the next one here. It's good that you've got... It's just knowing your opponents, really, and you get to know them in the warm-up. You'll see what their strengths are. Some of them will be really powerful hitters, some will be more defensive players. That was the next question. How to cope with serial lobbers and where to stand. So that one we were talking about. Send them to prison. If you can, come into the net because it cuts things out. It forces them to hit a really good lob. If they hit a weak lob, you'll have an easy smash. If they hit too hard, they'll go out. Send them as uncomfortable as possible. Don't just lob it back because that makes it very easy and you'll get caught up in what they're doing.  Yeah, don't come in close. Stand. Just stop them lobbing you again. So when you come in, when we say come into the net, because we're expecting it to come up high, they've not in the past been very good at hitting drop shots or mainly high shots. We can stand back a bit further and ideally we want to actually bring them in because they're probably quite comfortable just chipping it away at the back. If we bring them in as well, it's going to take them out of their coupler zone. You can't lob when you're at the net very effectively. It's much easier to do it at the back of the court. I think it's reading the tennis racket on your opponent. Whether it's an open racket face or whether that's... If I was watching you hit rather than just watching your racket, I know that if I've hit the ball really, really well you can only hit a short ball and if I've hit it shorter it could hit it deeper. So it's just having an understanding anticipation of that. So then we say when you have two players at the net when to have two players at the net and when to have two back and when to have one forward and one back. Who likes volume? Who likes being at the net? You guys. You don't have to have you don't have to have normal formation. When we look at traditional doubles we've got somebody at the back somebody at the net. You could have two people starting at the back if you feel way more comfortable. It does give you a big advantage when you come into the net because we take our opponent's time away but if you really struggle at the net now I think we're all okay at the net so I would suggest having one back and one in the net. The person at the back if you can come in to join them as well because having two players up in the net is much tougher than having one at the back. As soon as you've got one at the back player of that end will just keep it cross court keep it cross court and it's quite easy there'll be a long, long rally. As soon as you can get into the net you can cut the points off save yourself energy, finish the point quite quickly and then turn that one. The only time I would say have two at the back is if somebody really hates going in and they're much more comfortable with that back of the court but you guys will find it in the net so I wouldn't have to come forward. Of course if you get lobbed you can both go back then but again try to get yourself back in at some point during that time. When you say one at the front one at the back say your front player is sort of protecting the the trams almost and the back player is way over there you've got a massive gap between the two players I'm going to the drill I'll do on court I'll show you where I've just done it with the last group players I'll show you exactly where you need to stand as a pair to cover all of the court without having to move so that will help when two play defensively and when to attack the rule of ten I call it the rule of ten if you're hitting a 5 out of 10 that's a rally pace so if both players are at 5 out of 10 there's no advantage the ball's going back and forth as soon as there's an opportunity for example the person at the other end hits a slower shot a 3 out of 10 then I need to hit an attacking shot so I'm going to go for a 7 out of 10 if our opponents attack and do a 6 out of 10 I'm going to match that and do a 4 out of 10 back so that way anytime they increase the speed we're looking to defend and decrease the speed and anytime they have a slower speed we look to have a faster speed so we're counteracting what they're doing at the other end if you try to attack an attacking shot that's when you miss and if you defend the defensive shot they're going to kill it so make sure you've got that nice balance of both rally until there's an opportunity attack when you get the chance don't just attack randomly try to attack when the ball comes in slower or shorter or you feel like there's a big gap in the corner there you don't always have to attack with speed attacking could just be a drop shot a drop shot is an aggressive shot because you're putting your opponent on the pressure so that's attacking defending do it the right time and the right time is when something changes in the rally if your rally's going and nothing's changing be patient and wait for the right chance to attack how to play and how to defend Australian formation so who asked that one? because we couldn't even know what it is when we play Roland's Castle they've done that to us are you talking about iFormation where they start? yes and also the girl that was serving was a left hand fin so it's an interesting one not many people do it but if they do I assume you're talking about iFormation where if my partner is serving and I'm at the net instead of standing here some players at professional level do it they'll stand here and when the serve goes over this corner see and plays on this side so then you've got a down the line rally going and then two bodies facing each other is that what they did? the girl that was serving was a left hand fin so it's really hard to read it threw you completely so the thing is as soon as they've done it once talk to your partner and the main thing is that you just get over the fact that they've changed something because it throws you do you just ignore it? try to but know that they might do it again so just to kind of because it doesn't happen often you really have to work on fighting against them like that and the standard rule is that they cover this side so don't surely everyone do it? no so iFormation what pros do is they'll signal behind their back so they either go this way or this way and it just means that they've got the option to go either side so the returner doesn't have any idea of where they should be hitting it's tough to play against them at our level I think you can probably combat it easier because they're not going to be quite a springy jumpy race just mentally at this approach it's just another tactic don't worry about it went to hit cross court went to hit down the middle and percentage shots and how to win the tie break well that's a good attitude we all know how to win tie break yeah we keep losing tie breaks went to hit cross court went to hit down the line and what the percentage shots are that links in nicely with the drill trading, rallying to get away from the net player so during a doubles point if you're rallying cross court and doing a good job of keeping it away from the body that can keep going until something changes and somebody decides to attack so that's really really good the reason cross court is also a good shot is the longer distance from corner to corner so you've got more room to hit into you're less likely to hit long it's the lower part of the net so in general in singles and doubles down the line you tend to use when you're attacking so if you get a shorter one or a slower one when we say the 3 to the 7 that's when we can go down the line to the body player because we're going to put them under a lot of pressure if they hit fast or we can attack back at the cross court player coming to the net when to go down the line if there's a big gap or if you've got a slow easy ball but percentage shots do tend to be cross court now in doubles another really good way that you guys are going to win points is by hitting it through the gap in the middle but to do that you've got to create the gap so when you're in that cross court rally we always say deep is good because if you hit a shot deep you know that eventually they're going to hit it shorter it's also going to stop them from attacking but you're not going to create any space by hitting it deep the best shot in doubles is the short cross court angle that pulls your opponent right out of the court creates a huge gap in the middle it gives you a volley player I suggest that we all practice the short to wider angles when we're in our rallies we always say deep is good because it means that our opponents can't attack and there is a risk that if you aim short to wide that it could set them up for an easy one but if we practice it we're going to get much much better at that so that's a really good effective shot especially on the forehand side it's a lot easier to do than the backhand so we're going to get into some final things about volley positions now we spoke about how close to the net and how far back we should stand but we didn't really talk about what happened side to side now we I think we all know in this group if Anne's on my team serving I'm at the net when Anne serves out wide I need to cover my line so all I do is I follow where the ball's gone so Anne will go this way I go this way if Anne serves goes down the tee to this side and the player has to move this way I can look to come across a poach and if you think of those two movements and you know where your partner is trying to serve you're going to be much quicker at getting to the volley that also happened during the rally so if the ball goes back cross court and they're rallying with Anne when Anne hits the wide ball I follow it and if the ball goes more central I'll follow it so we're constantly tracking the player at the other end as long as you're moving so Anne when she's served in a rally good question so if Anne's hit a really wide shot what is that person's options wide or wide so what we actually do is we split okay I go this way and Anne comes in slightly more Anne you say you would go across the head there you go so you go here now the reason being you're going to say there's a big gap in the middle now my normal position is here I'm getting across to cover my line I'm getting across to the tram line because I can reach the tram line from here if I'm here this is as wide as I'll go now in just one step and a reach my racket gets to here remember that person's in the corner for them to hit the shot and it travels to my furthest point that would go all the way over to here one step I've covered two thirds of the corner so Anne doesn't need to stay over here that's why she can go wide that makes sense now so it looks like there's a big gap because if you were looking from straight on there would be a big gap but when you're looking from that corner there's not a big gap so any time the ball goes really wide volley player should always cover it and this player doesn't really need to cover my gap here yes if they lob so a lob is always slow so if that person has got up that's a really good shot that they've played there Anne's quick enough to cover it so Anne would go across and I would switch it all seems a bit clear when you look at it with lines and things on the court but it's putting it into practice that makes it better you guys can come on don't mind us let's have a little practice exercise


Ooh, big stream by Mitchell. Struce took the hit, back on his feet, leaves the break, hits the bucket, gets a free throw. He was knocked to the floor. And now is down. He got up. They needed him in that game. Back cut, Illusia B from King alive. Another back cut. Struce, a big guy. Tabs driving, whips a pass to Heron for three. Got it. Chris Heron, Jr., a big three. And Boston College, Tabs, a jumper. And he got it. Winston Tabs, just a freshman. Bowman cut off by Illusia B, doubled in the corner. Popovich, stolen by Struce. Mitchell chases Struce. Hashtag special delivery. But a guy that's the leading scorer in the big, one of the leading scorer in the big East. And I'm not surprised by anything he's done since he's been at the Paul. A rolling hook by Tabs. And it left. King against Tabs, cut off there. Struce is doubled, falls. Bowman tips it loose. Here come the Eagles. Tabs with the layup. Got it. The lead is won. 45 seconds left. Took down nationally ranked Buffalo. Oh, a steal. This is Tabs. And he's fouled from behind. Struce got him. And Boston College can take the lead. They may look at this foul as well. It was a hard foul. It looked clean. Three and a half seconds left. They need a three. This is Struce. Half court. It's blocked. And Boston College goes on the road and wins in the big East. Behind and stone cold the entire game, Winston Tabs comes to life in the last four minutes. And Boston College pulls this one out. 65-62.