Indra-abdominal umbilical vein varicose, varicose dilation of umbilical vein is a rare situation that makes up about 4% of all umbilical cord malformations and in the literature to date only around 100 cases have been reported. The types of varics have been classified according to the location. The most commonly observed are the extra-abdominal, the second type being indra-abdominal of which intrahepatic ones are the rarest. We here report two cases. One had the rare form of indra-abdominal, indra-hepatic umbilical vein varicose and this was associated with disc genesis of corpus callus. Another case of indra-abdominal extra-hepatic umbilical vein varicose was seen. A 38-year-old G1P0 patient came directly for a normally scan. The first time this scan was not performed. Term size was delivered. No clinical features of trisomy 21 were noted in pregnancy. On gray scale, focal dilation of the indra-hepatic umbilical vein was seen measuring approximately 36 by 42 mm. Color and par Doppler showed continuous venous flow with turbulence. The right and left portal branches and ductus venousus showed normal flow and no apparent thrombosis was seen. Antinatally, thinned-out genu and anterior body of corpus callusum was seen with non-visualization of the plenium, suggestive of partial A genesis of corpus callusum. This was associated with mild colpochipli and irregular contour of the lateral ventricle. The perichelusal artery was seen following the anterior part of the corpus callusum but its normal course in the posterior part was lost. At the level of plenium, the artery moved in an upward and posterior oblique direction. On postnatal dates, we follow up. Near to complete thrombus of the umbilical vein barrage was seen. A small thrombus was also seen in the left and main portal vein, partially occluding the lumen. Based on these findings, patient was started on LMWH. Postnatal dates 15 revealed consistent findings. However, this plenium of corpus callusum was seen on NFA, which appeared thinned-out, ruling out partial A genesis. And antinatal findings of this plastic genu and body of corpus callusum were confirmed. And this was finally suggestive of this plastic corpus callusum. Follow-up scan done on postnatal dates we 30 outside, revealed total recanalization of the previously thinned total vein thrombus. Case number 2, a 28-year-old G1P0 patient came for a normally scan. The first time this scan was non-performed. The patient had no history of diabetes, hypertension, asthma or thyroid disorder. No markers for aneuploidy were present. Patient has 35 weeks zero days gestational age at present, not yet developed. Grayscale and color Doppler immense show in extra-hypatic intra-abdominal umbilical vein varic, which was seen just superior to the urinary bladder. Follow-up scan done after 5 weeks, revealed no significant interval change, no obvious thrombosis was seen and the ductal phenosis shown normal cellophilus. Anatomy. The umbilical vein enters the fetal abdomen within the faulty form ligament and ascends deeply towards the liver along its inferior surface. The umbilical vein then joins a confluence of vessels turned the portal sinus. The portal sinus is a vascular space and is a conglomeration of structures including the intra-hypatic portal vein which is made up of the left and the right portal veins. The extra-hypatic portal vein comprising the splenic and superior mesentery vein and the ductal phenosis. The ductal phenosis originates from the superior aspect of the portal sinus, it then bypasses the liver and churns blood into the heart of the fetus directly. After birth, umbilical vein and ductal phenosis regress. This is the cross-sectional image of the fetal abdomen at the level of liver showing the anatomy of umbilical vein and portal sinus. The diagnostic criteria are as follows. The diameter of umbilical vein increases linearly with gestational age and the diagnosis is made when the diameter is more than 2 standard deviations. Other diet areas include umbilical vein diameter more than 9 mm at term gestation, umbilical vein diameter more than 50% of its non-dilated portion and umbilical vein diameter more than 1.5 times its intra-hypatic portion. The clinical impact depends on the gestational age and detection with the varices detected before 26 weeks carrying a word synosis. The complications include aneurysm rupture, thrombosis, heart failure and compression of the umbilical artery or the neighboring structure. A meta-analysis of 218 cases was conducted and the results were as follows. Around 170 cases had normal outcomes. Obstetric complications were seen in 42 cases of which 15 had oligo-hydroaminase, 8 had the spacial diabetes mellitus, 4 had IUGR, 3 patients of pre-eclampsia vaccine, placenta previa, 3-dom delivery and polyhydroaminase were seen in 2 cases each. Major malformations were observed in 17 cases of which the urogen ideal system was involved in 4 cases. Isolated cardiac defects were seen in 3 cases and hydroxpitalis and non-illusional skeletal dysplasia were seen in 2 cases each. Minor ultrasound abnormalities were noted in 17 cases of which the most common were TNL which was involved in 3 cases. Bilateral mild moderate phylectasis, cryptorchidism and single umbilical artery were seen in 2 cases each. Promosomal abnormalities were seen in 6 cases of which 5 had trizomus 21. Intrauterine demise were seen in 7 cases. The results of the meta-analysis are as follows. Detection of FIU calls for careful screening. Monitoring for growth is required. In the absence of malformations, usually the prognosis is favorable and fetal carotide being needs to be offered only if there are other abnormalities observed on ultrasound. Take-home message. This plastic corpus callus was a normal finding that has not been reported seriously. Weight and watch quality should be adopted. Continuous thrombosis has also been documented previously and closed monitoring is advisable before any urgent interventional management. And LNWH proved to be an excellent treatment option for thrombolitis of umbilical vein varicose. These are my references. Thank you.


All right, thank you very much So my name is Gleb Alexander of I run the creative stream blog where artists learn tips and tricks about computer graphics art and coffee Obviously, and I'm super excited to be here Today we'll be talking about how to create awesome lighting in blender by expressing yourself and there is a hint, you know in the title and And first of all I to put the things in context I want to ask you how many of you guys have heard about me raise your hands, please. I Oh, oh 37 37 millions probably Thank you. Thank you. I just can't skip the talk then but and another question for you Have you seen an artwork or a photo and thought to yourself that lighting is amazing? Have you ever seen such artwork? All right, and now please raise your hands if it caused you any anxiety any anxiety at all if you thought I'm never gonna make it It's too good. Oh There are many of you. All right, I know how you feel and Three years ago when I was still working at the game studio I started to notice that I follow the same kind of procedure over and over again Then it came to lighting, you know, I was a tech geek. I Just started always with creating a decent model and then I applied all My technical knowledge and spend all the effort to make this model look cool usually it was just positioning the kill the key the fill in the hairline and hoping that it's enough and Then I was just tweaking the light bounces the render settings and I learned everything about V-Ray I worked in 3ds max back then and I knew everything about it, you know, how to choose the right size for the render bucket how to Tell the difference between various NT allies and algorithms, but on some level it sucked, you know I can't just create amazing things using just that knowledge and It was a disturbing feeling you know and Every evening then I left the office. I was making my way through city streets And I was just looking around me and I saw weird and exciting things related to lighting Imagine falling snow and street lamps shining bright and If you squint your eyes a little bit, you will notice a giant vertical light streak like a lens flare in your eye The light diffracted through the eyelashes The light diffracted through the eyelashes you never notice it But when you do you'll never forget our imagine going by car from Amsterdam to Vilnius at night You see blazing trails of light infinite motion You see dim lights of a distant city Refracted by the tiny raindrops on the car windshield When I just was traveling looking around me, I saw weird and amazing things related to lighting And at work and in my own creative doodles, you know, I just use lighting To showcase how cool I can model and I was concentrated on a technical aspect of lighting And I had a disturbing feeling that I miss something crucial and I even started to think that maybe a CG is not my kind of thing Maybe there is a photographer hidden somewhere inside me, you know It was a very very disturbing feeling and it haunted me for years Meanwhile, I quit the day job. I Switched from 3ds max to blender and that was quite an achievement for me. I Met my wife She worked at the same studio as a concept artist and we were fired together And you can tell why just by looking at the picture Yes, so it took me a few years I'm kind of slow when it comes to my life and my career to realize That the experiences from my life Don't collide with computer graphics. I create the life The life is awesome weird unspeakable What I see is just unbelievable and in computer graphics. I use lighting only to showcase how cool I can model and And that really sucked I was stuck in in the box of production quality rendering, you know And it's a pretty comfortable box, but I asked myself Will the knowledge of shaders alone will help me to create the art that connects and the answer was no and This kind of problem of limiting your vision to the technical stuff It's very common, you know I took 500 renders from CG society blender artist and 3d total and based on my selection I can assume that's kind of a general approach to CG lighting is to use it as a tool as a supplementary tool to reveal the shape of the model in the most appealing way you know to sell the shot and Don't get me wrong. I love these 500 artworks and all respect to their creators But among my selection there were practically zero artworks That's like subject but still connect because of lighting. There were zero abstract works you know and So we just use lighting as a tool in the most cases, you know But I must admit that the ball of boobs was kind of interesting I stumbled across it on CG society and just shoot an email to Matthias model a and I asked Matthias I was talking blender conference may show your boobs and he said all right Go ahead show it to the world, but let's return to lighting You know, what's wrong with learning shaders and techniques? What's wrong with being a tech geek you may ask and there's nothing wrong with it I love tech geeks and I know that among you there are many tech geeks But I thought what if these knowledge of particular techniques that originated in cinematography for example the three-point lighting and As well as the knowledge of how to set up the right amount of light bounces How to eliminate the noise in the rendering? What is black-bodied temperature node? What if this knowledge is just a small chunk of the whole process of setting up lighting in computer graphics and You can tell by looking at this beautiful Pacman chart that they prepared for you So what if this just a small chunk of the whole process and the rest is the weird and charted territory of your creativity? What if lighting is much more than just a tool and That was a game changer for me and that is very important stuff What if the lighting is a way to express yourself in the first place and in this moment When I realized it My life changed forever. I nerd life Changed forever No, I realized that to get my lighting to the next level. I need to connect somehow my life That experiences from my life that relate lighting that night highway that block of ice in winter morning that burned out photos that got them lights Diffracted through the eyelashes. I need to somehow bring it to blender to connect it, you know, and maybe some someone after this talk will write a plug-in and I thought that is the way to go and In this moment, I began writing a book about lighting and Sharing everything with you on creative shrimp because I feel that conversation is a way to go No with this book. I wanted to give myself permission to express my personal feelings with lighting I wanted to give myself permission to experiment and to try new things to experiment with thickness of the atmosphere To experiment with some weird stuff but What we consider to be experimental in computer graphics is a pretty common thing in photography and in fine art There is nothing new under the Sun and if you look at photos by for example by Bruce bar bone You will notice that it's a totally different approach to what we used to see in computer graphics He uses lighting not only to showcase something Or to beautify your 3d models, you know, he uses lighting to paint To create an abstract works with lighting or if you just scrub through Photos on flicker for example photos by Sylvia graph. You will be amazed and When I looked at these photos, I thought oh, I'm still miles behind and I want to do this I want to paint with light. I Want to do exactly this and I thought it's clearly based on a static experience and A static experience is an unexpected interruption in the flow of the everyday It's a quote by Hans Ulrich Gumbrich the professor at Stanford University and during that moment We perceive the world differently with an intensified feeling for the here and now and I Think that is the single most important thing that we need to know that feeling comes first that you need to feel something first and then you apply your technical knowledge and all this stuff and for example, oh That's a reminder for me to not procrastinate, you know, I love procrastinating for me It's just chatting with you and social media and come and commenting and by the way, this is my best painting up today I was three. It was called an immortal hero and Never mind here are seven tips that will help you to create awesome lighting in blender the point number one Pretty obvious you live an interesting life. Just open your eyes. I Bet each one of you can remember at least one thing related to lighting One thing that impressed you one interruption in the flow of the everyday But you know what close your eyes for a moment. I wanted to close the rest and imagine the night highway Imagine the night highway the blazing trails of light the cars passing by at 100 miles per hour They look like a tiny fireflies in the dark and everything is refracted by the tiny raindrops on the car windshield and Open your eyes. Does it look like what I imagined if yes, please raise your hands If it does look a little bit like what you have imagined and now please raise your hands If it doesn't look like what you imagined raise your hands Oh, it's alright. I still love you and it doesn't matter at all because that's my perception of a night highway influenced by my vision and by a movie called lock with Tom Harley So and your aesthetic experiences are the building blocks that you use to create awesome lighting in blender You feel something first then you learn how to do it and then you apply to your technical knowledge Lighting is a thing on its own in fact You may have a very primitive geometry in your scene and you still can absolutely crush it use and write lighting For example, look at this one. This is considered to be a mistake, you know, this is this looks like a burnt-out photo Clipped at the higher end of range, you know With zero information in the highlights, this is considered to be a mistake But I'm fine with that mistake with that mistake as long as lighting works And you may have very primitive geometry just a few spheres and so on and still crush it using right lighting or this one This is a funny story behind this one. I was I Was caught in the rain and I just ran to the nearest building. It was a coffee house The best place on earth and I was just sitting With a small smoking hot cup of coffee in my hands and beyond the window that chill and rain won't blast in the street And hot versus cold was how I perceived the situation and you can see how lighting alone hopefully conveys the emotion and Let's face it the geometry wise this scene is kind of boring and primitive a few models from blend swap You know 2d background and the area light nothing nothing special but with the The right approach to lighting you can make something interesting out of it So the point number three always try new things and experiment and for me blender is a tool That I used to explore the new concepts and the new ways of doing things It is a tool to wake my inner photographer up No, once I was at a party and I drank way too much and when I woke up in the morning I noticed one thing no actually I noticed two things that my head hurt like it was gonna explode and The second thing that the empty bottles standing on the table. They looked so amazing for some reason Look, they look so very interesting You know and I recreated this experience in blender. I just created a bunch of bottles and I'll place them on the table I carefully recreated everything except the headache, you know, I then I hit them with the light coming from virtual window and Then I took a virtual camera by pressing shift F Just started searching for the shot, you know, and I knew that if I recreate that experience That multiple Refractions and caustics going on in the bottles It will give me a chance to find a good angle and create a good looking picture Always trying new things and experiment and try to adopt the workflows that originated in photography, for example Or in cinematography think I was outside of the box For this is the quote by James Gurney and James wrote an amazing book about lighting cold lighting and color I encourage you to Google for it after the conference. You won't regret So James said the world is not made of plaster indeed the world is made of a whole range of different substances and Explore them all no don't get stuck with these new diffuse shaders and With following this approach when lighting is meant to reveal this subject So for example, do you remember langoliers these tiny little creatures that devoured today when it becomes yesterday?  No You can think of light Lighting conditions such as fog as a ungolier, you know the fog can devour your scene and Don't get stuck with diffuse shaders all the time, you know This is my sound contradictory to what I said earlier, but in this case being tech geeky is a nice thing No cycles allows us to create a very complex interactions of light and material and One light light rays travel through space and they hit that I block part of it gets reflected part gets refracted some of them gets blocked by the tiny particles inside the eyes and It's getting so complicated. That's a light poetry is going on and Cycles allows us to create this kind of light poetry and by the way Thank you so much Blender developers for for doing cycles and please give Blender developers nice round of applause because they deserve it and They are rock stars So use a whole range of different substances five Beautiful is their own word Feeling different is the right word and it's not about me. I'm not different and I'm not beautiful Even my wife admits it. So it's about the wall and At the moment of aesthetic experience. We perceive the world from different side Martin zeal German philosopher called this an appearing when out of the blue bam, the ordinary object becomes something different you feel something new about it and Maybe because you have been traveling for a year and now you're turning home And you see the night high when you feel something different about it And maybe maybe it's something personal or maybe be your trunk Anyway, the moment comes and the ordinary object becomes something different. You just need to be To notice it in the right moment. I'll look at it the fog the bottles Strange thing the night highway these are pretty ordinary things and that leads me to the next point Stay tuned for aesthetic experiences because they come and they go they if you don't pay attention They will vanish before you can say blender, you know so always always stay tuned for them and Sometime ago I was surfing the internet and I stumbled across an article on the mental health talk website Where some person described her visual over stimulation that she suffered when she experienced in the shopping center She said it was like Taking LSD. She said it caused her panic attacks her quote Then my visual perception shifted and it was like every object within my visual range was reaching toward me No, and when I read it, I thought that's amazing. I can feel it I can feel it almost and That was an aesthetic experience for me and I started to think how can I turn it into the picture in blender and for me it became this big CD With light coming effectively from every direction at once It causing yeah, I don't know. It's visual over stimulation for me more than hundred light sources and Tom Rosendahl hidden somewhere inside the image. No, can you see him? alright and This one guess what I was watching Harry Potter all eight movies I'm just kidding just first seven so Always stay tuned for by the way, this is classical three-point lighting nothing special always stay tuned for a static experience Bruce Barron sent to his students. The idea of using intuition has something to do with photography But much more to do with life your life and while we are here at blender conference, and you're amazing I want to refresh this quote The idea of using intuition has something to do with blender But much more to do with life Your life and the biggest project of my life right now is that book about lighting that I'm writing and I will continue to share everything every chapter for free with you because I want to hear your Feedback and I appreciate each one of you and I will keep it open. No a transparent so Embrace your intuition Because embracing intuition leads to a more creative approach to lighting and Perhaps even more importantly it leads to a happier life embrace your intuition explore the new things and If you take away just one thing from this talk, I hope that it is this Bring your own static experiences to see the lighting and to blender See that light diffracted through the eyelashes and start expressing yourself Thank you so much


Hi everybody, Sam here and Nan's in the house. Hi everybody, I'm Nan. Sorry we were laughing just before we started recording. Do you want a wave? Give a little wave. Hey everybody. I'm having a fantastic time, I really am. So Nan is back. I know lots of you have been asking when she was going to be next on a video. You've kind of overtaken me a little bit Nan I think, because people seem to like you more than me and Nan was overwhelmed by all of the lovely comments that you posted on the Facebook photo that I put up. So you just wanted to say thank you didn't you? I want to say thank to everybody. Yeah and yeah we're here, we're crafting and we're going to show you how to make these really pretty cards. You love these don't you? I do. What's the favorite bit that you love most about these cards? The pretty little. The doily. The doily. I love the doily. Do you want to show them how it works? Do you want to hold the card up? So this is a pull-out card, it's not my design, it's something I saw but I wanted something that was going to be quite easy for Nan to be able to make. So it's like a Z-fold but it has this pop-up piece inside there. Really fun design isn't it? Do you want to show how it stands up? It's just great. Lovely isn't it? Back. Did we just turn it around that way? There we go. And what did you do there to do that? Can you remember what I said it was called? No. Heat embossing. Heating. Oh yeah. Heat embossing, yeah. Isn't that lovely? It is, it's really really nice. And you can see there again, do you want to just do what I'm doing there? Just pull the side of yours so they can see it. It's just a really fun, just a bit different isn't it? And it's easy. Did you think it was easy to make? I did, I did. Which is what we like. Pretty easy. So should we show them how we made them? Yes. Do you want to say okay let me show you how to make it? Okay let's show you how to make them. So we're going to be using the Paper Boutique Ocean Breeze. This is a old collection but I had loads of the toppers and I had all of it so there's quite a few bits left but not very many of the plain papers. So we've got those for the cards that we're making today along with the toppers. But I thought this would work well for both of us because we both live by the sea. Yes very very appropriate. Really really pretty. Loads of nice sentiments in there and everything. So we've pulled out the papers and everything that we like. I'm also using the Crafters Companion basket weave. This is the embossing folder and I don't think you've done embossing. I don't think we've done it on any. I don't think so. No, not on the other tutorials. This is really nice and we're going to do some heat embossing as well. I don't think we've done that with you before. So we're also using stitch squares. We've got circle dies, got different ones there and then we've got some lovely sentiments here and we've got another set as well but we'll choose all of that near the end. So I've already gone ahead and got everything ready here. Now I've scored and cut all of my pieces so we're going to go through Nan's here. So first of all we'll tell everybody the card stock size.  Basically what you start making is a z-fold card to start with. Don't worry you don't need to know what a z-fold card is Nan. But those are watching they will know what a z-fold card is. So first of all you want to score at two and a half and five inches. So Nan if I hold that there at two and a half well I'll do one first you can do the five inch.  This sits in the track and it causes a crease.  So I'm going to put it there at five now do you want to hold this and you're going to push down hold this here the tool push it down like a pen so hold it like a pen or a pencil push it down and just go all the way down keep going can you feel it's like in the I can I don't know if I've done it right no you well you can't not go straight because it's in the track all right so if you if I take the card away go and hold it still you hold it and then just find a line can you feel when you go down oh yes yes feel the track yes so that's how it does it so everybody I'll just go over that one again so you just want to score it two and a half and at five inches okay next we're going to fold in half like so so that gives us our five by seven card and then we're going to fold this one back and that will give us a z-fold shape and this here is how you crease it so do you want to just go back over those folds and just kind of just like I did then just kind of that's it brush over it and it just creases perfect and again yep that one there perfect so now this is a common card style that's called a z-fold because it's in the shape of a z so lots of people you know they're kind of very quick makes to do so now we've got that style what we want to do is open it back out again and you want to have the folded side in your scoreboard right back at the top here so what we're going to create if I bring this one in that I've already done we want to create this little pop-out piece oh you see yeah so there's the original card like yours like so okay but now we want to add this pop-out piece now the easiest way to do this let me just check my measurements on this one yeah one and a half inch so what I'll do is I'll just start it off and then you can join it up so you're going to do a mark or you want to score it one and a half and five and a half and you want to come down one inch so if you don't have any measurements on the side of your scoreboard you can lay a ruler down there or you can draw a pencil line but I'm just going to score down there for Nan just through because you've got to go through those two layers so one and a half and at five and a half and then what I'm going to get you to do Nan is join it up so then when you've done those two score lines down to one inch you want to pop it on this side and you should see your one inch marker at the top here you want to hover your stylus until you meet that score line and then you're going to join them up so do you want to now come in and hold this for me I'll put it in place for you and then you're going to push push with all your might all the way down until we join up there we go perfect and do you want to just go over that again go on you push down that's it oh hang on you've got it no no no it's fine there we go push right down keep going keep going keep going keep going keep going that's it perfect that's it so now we've created oh look at that this shape here all right and that's the same as this one here and in a minute we're going to cut down then we don't need to do any more cutting for now but that is everything you need to do to make that style all right so now I've caught up with you now I've already cut mine but you're going to ignore that we don't want to cut it yet I think it's going to be easy now if we decorate all the panels and then we cut into it afterwards so what you're going to want next is we've got these lovely prints look at this one nice beautiful isn't it that is pretty so you want to choose a nice pattern paper to go inside the card I think it's that way up actually so this is a piece of four and three quarters by six and three quarters so that's going to go in there okay then we've got the same here in that print this is going to go on this inside side piece and this is two and a quarter by six and three quarters and then this is how it's going to fold so it'd be in the envelope like this you've then got this cream piece which we're going to emboss and this is two and a quarter by six and three quarters and that's going to go there and all this is for our decoration so you want to get all these pieces stuck down but before we stick these down then I'm going to show you some embossing so if you look on this one you might feel it more than you can actually see it if you feel that piece of cardstock oh yeah can you see it that lovely pattern that's what you create with these embossing folders so this one here is a basket weave design yeah so what you want to do is you're going to pop this in here just line it up because it just fits things this is a five by seven so we'll just sit that one there and then i'm going to get you to run this through the die cutting machine so just keep that there for a second let's bring this in so this is how we die cut everything which you've used I think we use this once or twice in one of the other tutorials I think I'll do that you know I think I'm going to have to set up a nan series on my youtube channel so I think this is our third now or fourth video so we've put them all together so what happens is you put this between these two plates okay I'm going to pop it in there now I want you to turn that crank that around if it feels hard don't worry keep going keep going all the way through and we'll reverse it back as well keep going good workout for you and then reverse it go back the other way now just to get a nice pattern that's it keep going perfect I'll just get rid of this bring this one back in if you lift that up take it out so just lift up the bottom so take the card out go on don't worry it might be sat in there because it's it's gone into all the grooves you might have to just pick it out perfect oh look at that that nice it's not clever it's a nice pattern as well isn't it so now that will go rather than just being a plain piece which looks nice but look how much nice so it looks definitely with that pattern on there with that beautiful isn't it so we're going to get all those stuck down I've already got mine here so I'm doing the opposite to you so I've got mine in pink there and then I have these pattern pieces to go in here so we're going to no it's lovely isn't it so we're going to get all this stuck down okay so we've stuck down all of our pattern paper there next we want to fold it back in half and you can see those score lines that you made before what you want to do do you want to cut down each of those lines okay can you see the line you see that score line you just make it out you can yeah yeah that's it so if I get your scissors in place if I start you off if I go up to where you can cut there we go right so I've started it off for you put your hand through the scissors close them go on push push that's it perfect and then we're going to do the same on this one here so again let's just go up to let me just line it up so it's one cut for you there we go so again squeeze that yep try yep perfect that's it yeah that's it so now what will happen so you're just for everybody watching you just want to cut up your two score lines and then when we open it because you've got these score lines here what you might want to do I'll just grab my scoreboard here it may be worthwhile it might be worthwhile just going over just find a track in the school in the um scoreboard there and just join up like so now what you're going to do is I want you to push push that out it's kind of hard for you to do yeah but I'm trying to get it so that you get to do push that out and then you want to let me do it the way that the card's going to open so this is now going to come out towards you but I'll get you to burnish it I'm just pushing you see now this piece is coming into the card but if I get you to just push the card flat that's it all right yeah and now use this to really burnish those creases so right along here this side probably not the easiest one for you to use let me just grab this one here just drag it across with your hand that's it perfect yep perfect so now when you open it because that's how it's going to be closed still when we open it you have this piece that pops up and that's what we're going to pop all our decorations on so I'm just going to show it again to those that are wanting to make this one so again I did cut mine but I'm going to go back over them again because I've got the pattern paper in there now if you want to cut your pattern paper so it goes around this piece you can but I think this is a nice quick way for you know people to make it rather than cutting the card stock so it fits exactly so again I'm just going to line it up so it fits into the tracks there just go back over those and then again you want to bring this out and then just fold it back on the score lines there as long as this whole piece comes into the card yeah and then I can push that down and then again I can just really burnish those folds again we've both got the same now but you'll see we've got that pop up piece where's you're covering it all what some people might want to do is they might want to make the pattern paper that kind of like a C shape but for the you don't see the pop-up piece no I'm going to cover all that okay brilliant right so next we bring back in all of these pieces here so we went ahead and we've already die cut a lot of these pieces so I'll talk you through the sizes of the squares so I used this one and the next one down I think it was yeah so these two squares here doesn't matter if you have a die or you cut these by hand but these are um well if you do two and a quarter squared that will be fine so I've got two of those and these are going to go like this on the front of the card and then we've cut our pattern paper which is two by two so those beautiful floral prints oh they're lovely okay so that's two by two so you want to get those stuck down but then we've also cut these squares here so we've got a large one which is I would do four and a half will be fine and then whatever your next size down with your dies would be but this one here again do four um it's four and one eighth but as long as they they layer on top of each other now you'll get two cards because you're going to actually now we're going to cut these in half so you could have them for another card but because I've done the reverse on my one I just cut them again but what I want you to do now now is I'm going to line this up for you I don't want you to cut my fingers off okay I want you to now pull that down go on just pull it yeah watch your fingers that's it go on perfect so now we've got our two halves God that sharp you certainly don't want to get your fingers stuck in there and again I'm just going to lay this down for you so you just want to line it up point to point and again you just want to take that lever push it down perfect so now we're going to have half for our card but then you've got another half there for your other card if you want to make a couple now again we want to emboss this top piece so it continues that pattern so we're going to get this piece embossed so now we're going to stick this one on top of here and we're going to stick all of these down here okay so we stuck all of those pieces down so now we've got this top here which is sending you birthday wishes and then I just used one of our circle dies you can see you get a nice frame when you stick that over the top so if you want to pop some glue on the back of that now we're just going to our top is stuck down okay so now what you want to do is start attaching everything so this piece you're going to stick on top of this piece here right so what I want you to do is run some glue along that bit there yeah can you see that bit yeah that's it perfect all the way to the end yeah lovely let me just pop a bit more in the corner for you to make sure it completely sticks to that lovely now I want you to take that piece and I want that you to stick that flat edge against the card there on the top of that little piece perfect yep that's great that's it it would just sit there and just tap the top there just so the glue I'll say you can feel that's it there you go perfect and now you'll see when that closes you see how that kind of lifts up you can see that cool effect you get now that blue is very good isn't it yeah I love this stuff works right away next these pieces are going to go on here and can you see we've got these points so we've got a point here yes we've got a point here and then you're going to have your other point now everybody's sizings and stuff's going to be different so they might want to have them touching in the middle they might want to have it touching at the tops here because we've got our topper it's going to sit like so right so it's almost hiding that one but the idea is is that when you open this you then see it so when it's open you see that lovely effect you get lovely but I've got these little doilies now and I don't know what you think about having that behind I knew you'd like it oh I like those so do you want to pop some glue in the middle of that does doesn't it I thought so I knew you'd like that right in the middle I said squeeze it a little bit that's perfect that's enough yeah let me just spread out there we go and then I want you to stick that in the middle of that doily oh I do like that that's it move it across a little bit keep going perfect there we go yeah just push that down make sure that's stuck down I'm just going to pop mine in the middle of this one as well so we're going to get all this stuck down now now it's up to you you might not want to have a topper like we are going to do you might not want to have something covering the the squares you might want to have a sentiment in one of the squares it's entirely up to you it's a really nice style but you just want to stick your glue on one half of this and then stick that half onto the front and again with that one there and then we're just going to stick one half of this over the top like so I'm just going to get mine stuck down very nice that is lovely isn't it even though I say it myself yes I knew you'd like it I thought as soon as I saw these doilies I thought yeah no honestly it just does something towards the card a bit more does doesn't it makes it I think very pretty yes it looks like a soft adds a soft touch to it looks like lace a bit yeah I'm just going to pop my one on here I can't get over the back that glue sticks so quickly it's very strong as well can you smell it though can you smell an odour because I'm used to it now but I don't find it awful no it's got quite a so it's a solvent glue so it's got quite a strong smell I'm just going to stick my two down okay so we stuck everything down what do you think so far Nan I think they're absolutely lovely yeah even though I say it myself with the one I'm doing do you think yours is better than mine I think they're lovely they are really pretty are they I do I think they're lovely both of them wow I've got one more thing that I think you're going to like and this is going to make me debate more well good I'm glad well we're going to now do some heating bossing for our sentiment on the back and then we're going to finish it off with some pretty gems on the front as well so we've cut ourselves pieces here these are three and three quarters by six and three quarters and this is where we're going to have our space on the back to write a message now if people want to they could have another kind of square cut in half in white under here and that could be where they write their message they could have something on here they might want to do a triangle down here there's lots of other inspiration and ways to decorate these you know so have a little look but we're going to stick to this on the back now we have these sentiments here or we've got these ones here now you liked this one didn't you someone special someone kind you're the one who comes to mind just to say a big thank you for all the lovely things you do yeah I like that one so you're going to stamp that one and I think on the back of my one I'm going to have I hope you have a delightful day and a year full of joy and love so what this is now this is heating bossing it's a really lovely technique and this is kind of what got me I guess more serious into card making mum showed me this so we're doing yours first of all so what you want to do this here is a little as hardly anything left in it but inside here it's just a powder and it's an anti-static powder so I want you to you can't see and I think so don't worry I want you to just rub that over this white piece of card for me okay so just rub it just rub the whole yep just rub it over as if you were rubbing some butter on a powder yep just rub it all over keep going keep doing it this will get rid of any greasy marks any static oh it just makes it because we're using this powder here and we don't want that to stick anywhere else apart from on our stamped sentiment okay I think so I'll give it one good go for good measure just get some of the powder there as well but I think we're good to go so then we're going to grab your stamp here and peel off the backing there I'll get this lined up for you because I think it's going to be a bit hard for you to see that because it's so clear it is so let me just check I think that's about right oh no that's the wrong one for two very special people oh no oh no can you worry about your eyesight yes I think I need glasses sometimes let me just check that straight there we go I think we're good to go there right I want you to close this down like a book okay close that down keep going close it right down push it over that bit and then pick it back up again that's that yeah pick it back up again what it's done now is it's lifted the stamp onto this side okay what we're then going to do is we're going to it's not stamped anything yet because we haven't put any ink on it this here is what they call a watermark ink right it's going to be clear so again don't worry that you can't see anything but I want you to stamp this now that's the sticky pad I want you to stamp it over there over the stamp the stamps just below my hand okay that's it push down yeah push down like if you do it like this do it like that that's it perfect yeah that's enough yep and then I want you to close it now again like a book you're going to now stamp this but remember it's clear so don't worry at the moment because this stuff's going to stick to it in a minute right this here it's got felt on it put that on there and I've just pushed down over that and move it around bit like that game what's that um oh yeah what's that game with the puck with the puck that you would um someone to tell me in the comments but how much easy is that isn't it easy to now push down on the stamp this was made by a friend she sent one she made one for mum as well we both got one cool aren't they very good okay so now you can lift it up perfect and now I can just about make this out let me just check I think we'll do one more so again I'm just going to pop that back in these are the little magnets I'll just get some more ink down for you but now if you close that again and then just use that to really push down all your might that's it perfect okay I'll just give it a go for good measure there we go that's better I can really see it now yeah that's perfect don't worry you I'm not don't worry at all I don't want you panicking thinking you there's something wrong god I can't see your face so this is where the fun now happens so just got a bit of paper to grab it it's almost like a glitter I want you to very carefully or keep it within this piece possible but just sprinkle that powder onto this area here okay go on sprinkle it out till you start doing it then you'll start to see what you're doing keep going you're not even out yet turn it up a bit more that's it don't worry no no you've got it chip it no it doesn't matter how much we're going to put it back into the bottle just cover that area it's like when you're using glitter I'm just going to shake it over can you see where it's starting to stick oh look at that I knew you'd like this oh that is clever but now if I just get a brush here because this is going to be a bit harder for you to see these little bits but this is not little but by just using that powder that little pouch it stops it now what we're going to do is we're going to add heat to it and we're going to heat we're going to melt it this is basically like little plastic granules and we need to melt it there now I'm going to leave that out because I'm going to use that in a second this here is like a hair dryer but it's much stronger you wouldn't want to put use this on your hair but you want to let this heat up for good 20 30 seconds so just hold that there for a second now please don't burn my fingers when I hold this up is that all right hold that gun and I want you to aim it onto that you don't touch it you just want to get it quite close that's it and you're going to keep doing circular movements get closer like that that's it and just keep going circular motions you see already can you see that starting to get shiny and then work your way once it's gone shiny move your way down that's it magic it's good isn't it I love this and it really makes your card special right down to the end then I like to go over for good measure give it one more blast perfect just turn that off just give it a little shake just to let it cool now you feel that and look at that you see it close up feel yeah wow gorgeous isn't it oh it's like a silver yeah silver that is marvelous I knew you'd like that oh I do very much because this is new to me I know isn't it now you can say you've done that yes and then we're going to stick that on the back of the card so now you can write two Lisa lots of love you know you've got your space there there's a little bit warped but once we stick that down it will be fine so I'll just shape it a little bit but Nan's going to get her stuck down and I'm going to get mine heat set but yeah when you get this you just dump it on it doesn't matter how much you just dump it down I'm really scared me that did and now oh god what have I done oh dear we'll warm this up you can heat set my one again here if you want so I'll get this all nice and hot again seems like a hair dryer yeah yeah but you definitely wouldn't want to use that on you no you feel how hot that is on the back you feel the heat oh god yeah it's very very quick very high my heat what about these hearts Nan yeah you like them she likes yes I'll do she likes her perfect so we're now going to finish our cards with these little embellishments like so oh one's already fallen off okay now you a can you see that okay yeah can you pick one off are you able to pick it off they're sticky on the back so if you can I'm not sure how easy you can grab one oh there we go okay so they're gonna be maybe we'll use some tweezers oh my if I just pop it oh there we go right so you hold the three tweezers okay just hold the tweezers there that's it and then you want to pop one where do you want to put one decide where you want to go first with it well in the wipe huh always do make sure it's the right way up I can't see no that's all right I'll pop it there and then if you push it down that's it perfect you see that and then if I get another one for you tell me where you want it to go then you can push it down one there one down here can you push it you push that one down well those who are watching that know me know that you have to do odd numbers Nan odd numbers look more pleasing to the eye so you either do three or five I'll do three then so where do you want this one to go um in the middle part where though you got your words there so you don't want to go over that what about you could do another one maybe there or maybe it's kind of nice having them a bit maybe like that all right then what do you think I don't like to take it I want you to say you you put it where you want it right no problem we'll go there yeah and they go push that one down perfect I think that looks lovely I'm just gonna add some to mine okay so there are our finished pull out pop out z-fold pull out cards I'm not entirely sure but do you want to show yours off do you want to bring it a bit that's it perfect isn't that lovely and then if you come over this way there we go and then show it how it stands up oh dear and then the back just show them the back so everybody can see that lovely shine from the embossing folder oh it's lovely that it's lovely isn't it that is really really something yes just finishes it off wonderfully doesn't it really does make a difference it's lovely really pretty cards yeah so there you go everybody I hope you've enjoyed this installment of crafting with Nan lots of people have asked for this to see you and hear your voice oh well it's lovely of everybody I just want to say again I'm so proud of my wonderful granddaughter it's about you not me I don't care if you you're something else to me really don't you make me cry um so yeah it's been lovely having you visit and I can't wait she'll be back again in August July oh even better end of July okay perfect so we will have another through to August oh yeah so we're gonna have another crafting with Nan in July stroke beginning of August and yeah I hope everybody enjoys it hope you've all enjoyed this card today as always I'll try and link everything that I've used in the description box below but this is an old collection but never know someone might be selling it somewhere and any final words from you know I just like to say to everybody that you've all been very kind especially to my granddaughter and to you they loved your picture and and yes of course yes and that's it really they all wished you a happy holiday and best luck to everybody there you go some lovely words from Nan so as always thanks for watching guys check out the links below check out the videos that are coming up now if you're new to the channel and you've enjoyed this video if you hit the subscribe button and click the notification bell then you'll be able to be notified every time we upload a new tutorial thanks for watching gonna wave now bye oh bye they got wavedown here bye bye everybody bye