My name is Rasmus Holst, I serve as the Chief Revenue Officer at WIRE, and the topic for today is basically to examine a couple of things. First and foremost, what is actually the risk threat of this happening? Because you can say with a headline like this, this is a significant statement and will not happen to all companies in the world. This has happened to a few, but in minding that, would that actually be applicable to everything from small, medium businesses to the very largest businesses in the world? And is there something you can do to be prepared? And when looking at things like this, especially with companies such as ourselves in the security space, there's a lot of questioning whether this is fear mongering or whether this is just creating a risk that is not true, and what to do about it. I do believe at the end we will also sum some of those things up and kind of try to outline how to do things right instead of taking the blame and the cost when these things happen. Because first and foremost, the one thing that is key to this is that everyone will get hit. It's not just a risk. It is at this point in time almost inevitable. We use this Cisco survey of security capabilities to outline this. You will see that companies with anything from one to 20 systems alone will face that between 30 to 70% of those will actually have a security breach over a 12-month period. And for companies with vendors more than that, that means that larger vendors, but even if you start to think of a small, medium business, 20 systems are not that many. It actually becomes an inevitable risk. And we are seeing this on the rise. So is this a concern for everyone or anyone in the industry? It absolutely is. If you look at where cyber threats actually rank on a scale compared to other business issues that could hit us, something like over regulations, which for decades has been one of the key concerns for CEOs is now no longer the top concern. Cyber threats in the year 2017 to 2018 actually overtook over regulation, terrorism, geopolitical uncertainty and those things. And you can say that on this left picture, these are mostly threats. These are risks to the business. So there must be some views on revenues as well. And we will examine that on the next page as well. But just bear in mind that at this point, the majority of companies will get hit. And by the same token, cyber threats have now become one of the key issues for CEOs and boardrooms across the world. And you can clearly understand that when you then see back to the same Cisco survey what the cost of any of these attacks are. They are anywhere from 500,000 up to 5 million. The ones that we mentioned on the front page are obviously separate cases. But I think they're very telling in terms of what really happens to an organization when something to the tune of a cyber threat or a breach of network where you actually lose control of your network, what really happens there. So in conclusion of kind of starting out, the cyber threats are real. It's becoming a key concern for boards and CEOs. The cost of these is immense. And I found a different survey of small, medium businesses in the US which actually says that post a cyber attack, 60% of small, medium businesses are not in business 12 months later. I think there's a bit of skew in the data possibly. But just think about it, if it was just half of that, the consequences of cyber breaches are violent to any business. So it's a constant and disruptive part of being a CEO today. And that actually is just very quickly highlighted, because this is the board survey from Vice Waterhouse Coopers. You will see on the other end of the spectrum, you will actually see the known ones from the page before, the cyber threats going from 8% concern in 2003 to 63 in 2018. This is in five years. And on the other side of things, you see an uncertain economic growth which would basically be the points that would relate to, can we sell more? Can we grow the business? Can we be prosperous in ways of moving forward? And that means that the risk scenarios now start to outnumber even the economic positive outlook to running your business. And with this being said, it is on everybody's agenda. It is on everyone's lips what can actually happen here. And then let's try and see whether they are actually right. And in real life, they are right. This is for Fortune 1,000 companies. They lost anywhere between 300 million to 50 million are the ones that have been public on record and talking about what really happened when NotPetya hit them. They lost control of the network. And all of a sudden, the entirety of their organization could not communicate, neither by email nor by voice, nor send everyone a message, nor get access to the systems that might have controlled or run and operated some vital functions in the business. So when you're concerned, when this ends up being the key concern for CEOs, then this is actually what really happens to businesses. And especially for Fortune 1,000 companies, these were hit, and the consequences for them were really severe. And this is not to say, when we go back to the first page, that SMBs will not be hit. Because if you really take and add all of this up, you can see that the larger companies get hit with a significant and very publicly real issue, whereas a lot of the SMBs face the issue that they will go out of business. However, when CEOs see that this is a threat and they know there are public stories out there, with not pet you can lose your entirety of your network. Everything can go away, and you can't operate the business. You could say, what is actually the function and the oversight responsibilities of boards in those situations? Boards do have an oversight responsibility to ensure that this is there. This C-level suite of a company of the size of TNT or Merck, they do have an obligation to make sure that those are in place. But what we traditionally have looked at is that we've had a discipline called crisis management, which was for the executives. How do we actually manage this? How do we communicate to the business? How do we make sure that we can communicate to everyone? It also entails if there are earthquakes or anything. All of that is part of the crisis management. If the stock drops, anything like that, is part of the executive task of ensuring that there is crisis management in place. Then you go and ask the business people, what is the business continuity that actually sits underneath you losing control of your network or having a cyber breach? And they will say, yeah, we can restore systems, we have backups, we have all these kind of things, and all of a sudden, and in doing so, you will say they actually have a business continuity plan. And then you have the final discipline, which is the crisis communication, the investor relations and the marketing. And they know how to communicate to the market. They all think that they are ready in terms of the plans they have in terms of communicating, the scripts they have for calling investors and all of that. But how are you gonna call investors when you have no phone system or no messaging system or no communication system at all because your network got compromised? How are you gonna inform the organization that this just happened when you have no communication? You have no way of pinging them because business continuity is still working on getting all of that up and running. And that is part of business continuity, but that means that crisis management and crisis communication cannot take place. So you're now in a situation where you need to have a look at how do we actually communicate? Because the crisis management plan without communication is worth very little and the same with the crisis communication. So when there's this need for boards and executives to really communicate, what really happens here? Musk, for instance, thought very clearly that they had all of these plans in place. But what happened with North Petra was that for 10 days, they were not actually able to operate neither their ports nor their internal, their internal systems nor their internal processes.  So when you're actually in a situation where you for 10 days lose control of your network and you've lost all internal, the traditional history of we will put everything on premise because that is more secure. We know exactly what's gonna happen. We have control of it and we can manage it. Goes out the window. You start to look to the public cloud to see is there anything out there that can help us? What can we actually do to get over this crisis? What can we do to call the people who are managing our ports and tell them what to do? In this situation, there was really nothing that was available for them to get hold of. So what did you actually start to do? You look to the public internet. What's available in our app store? What's available on Google Play? How can we start to get business entities up and running again? And we look at our private lives. And in today's day and order, we basically look at what do we have on our phones? A lot of us will be on WhatsApp, on Facebook or anything like that. And you go and think, hey, what a great idea. We can actually use WhatsApp because that can send a message. It can communicate. It can even make calls. So why don't we do that? Because it's both free. It's easy. It can save a burning platform. And the one thing that's key here is that it does not really require training. They're built as consumer products and therefore not as cumbersome internal IT systems. And therefore they can be available on demand with no training. A key risk management issue when this happens because you do not have time to train 900, nor thousands, nor tens of thousands of people in one go when this happens, you basically have to be ready with a product that is so easy to understand, so easy to navigate, so easy to use that it doesn't require any training and likely has to be available on demand either as a standby or available from App Store or maybe even a combination of both. Because the one thing we haven't talked about is that there's one entity which didn't really have a crisis plan. We didn't talk about how we actually would reach our customers. How would you actually reach any external entity? Because so far all of our plans have been internally focused. So let's just continue on the internal focus for a little while yet and look and examine at what really happens here. So now if we go that route, which was also the route that was taken by Merck and the route that we hear from a lot of the companies we talk to in respect to our wire red offering which is this type of crisis collaboration offering, they do go to these commercially available product because they are quick and easy. However, quick and easy comes with a cost. When you traverse that Chasm and go to the platforms that are on the free App Stores you actually take all of your data in your worst crisis and you put them on free commercial based advertising based tools in the worst crisis. So not only do you create a crisis in terms of the actual operation of the company under the new rules like GDPR in Europe or CCPA in Australia or the rules that Singapore and Brazil have either implemented or about to implement. You're actually also violating data management policies and actually violating policies that can get you in a risk of losing up to 4% of your total global revenue. So not only do you create a crisis or does an external entity create a crisis by tearing down your network and holding your ransom for getting that back, but at the same time your employees in the best will and in the best wishes to get the company back up and running are using tools that are basically now compromising your entire compliance system. So now we're creating a double crisis. However, and in creating this double crisis we can just examine what happens in the normal way of business and you will have seen that very publicly announced not too long ago was continental going out and banning what's entirely from the workplace because no company can actually manage the fact that they will take data from the mobile devices, suck up entire databases that you have on your phone of customer information and put that into the WhatsApp cloud. So they had to ban that from day to day work and from the work devices. However, in the crisis where your network is being held ransom, you have no network companies traditionally choose to do exactly that and take WhatsApp and use things like that in that typical type of crisis.  They now just amplify the crisis. So now you do not only have a economic type crisis from your loss of business, you do not only have a cyber threat as a part of this and you do not, but you have also created a compliance risk with great puts at risk up to 4% of your revenue. So the compound of that and the way of doing it that a lot of large companies and a lot of boards have had oversight over that we deal with this problem today is maybe not at all adequate for what you really need to be prepared for. And here's the thing, even when we talk about continental doing it very publicly and going out, having news articles and things written about them doing it in order to say that this is a key aspect of their operating the business. When you look at the Price Waterhouse report that we also used data from before in this webinar, 44% of boards are trying to create greater transparency to use it in storage of data. However, what just happened here, how are we ever gonna be able to remove data from the WhatsApp servers? How are we ever gonna be able to remove it from the Facebook messengers or the public available Skype? You're not. And that means that now we've created a longer lasting crisis than it really needed to be. So all of the privacy, all of the transparency initiatives that you put in motion will basically go out the window at the same time you are being hit with ransomware and cyber threats. So when we then go back and examine what we've learned from the first problem statement, which was it will happen, so get ready. If you then take that problem statement and say, I need to get ready, then let's try and examine five things that we basically learned from the case studies with Continental and Merch from some of the reports. One of the key things is that when you look at your crisis readiness, your crisis collaboration, you need to have a view that it underpins all functions that will be in crisis. One notable absentee in all of this and where there isn't that defined term for what you really do is sales. And do you really think that sales will be unharmed by not having a communication tool? We will examine that a little later, but make sure that when you do something, it actually underpins all of the crisis functions, not just the executive team, not just the investor team or the marketing and investor relations team, and also not just the business IT and business continuity team. The second part that we learned is that people have a tendency to gravitate to easy. What happened in the case of Merch is that people really gravitated towards things that were available on the public internet. They were zero-food print training, so that meant you could get up and running really, really quickly. The next part of that and the third part to the equation is that it's available on demand. That's again, a lesson learned from what happened in the not-patch attacks. People were seeking for things that were readily available on demand to get into a situation where at least functions of calling or messaging or collaborating between the entities, collaborating with externals would actually be available. Finally, the one thing that none of the people who tried to overcome not-patch actually found out how to do was to make it compliant. And here's one thing that has just amplified with the advent of the regulation that this now becomes more and more important to have this part as well. So all of the exams we just had, you can see it from the Continental, they try to make their normal day-to-day business compliant.  And the final thing is that there is a economic consequence to all of this. The investors will increase confidence and they are similar to the boardrooms. They are looking at how prone are these companies to risk and from a cyber threat because when you see data like the PWC study and over 60% of CEOs say that this is a key aspect of their risk management scenario, then investors will also look to companies and generate more market capitalization for companies that have a communicated, ready and available plan to deliver a crisis collaboration, crisis communication platform to overcome these challenges and not create a double problem. So that is one thing. And now we've discussed all the way up to now how we will deal with this internally. But how do you actually communicate with your partners? Consultants, sales, investors, stakeholders, a lot of the business continuity requires consultants. A lot of the partners would like to be informed that something has happened. Sales would like to keep the orders coming in because otherwise it has a longer term impact on the business. And investors and stakeholders would of course like to know when are you ready, when are you back online and when can we again start to expect normal production of financial results from this company. So you can say one of the parts of the business that was not mentioned in my first slide on which teams actually have a crisis readiness plan is actually mentioned here. It is sales and the customer satisfaction, the customer service, all of the customer-facing relations. Merck in the sense of the not-patch attacks of their losses over $335 million were attributed to loss of sales. That's a phenomenal amount. And says that the traditional way of thinking about how we come out of a crisis is maybe more about collaboration, more about the external world as the cyber threats move and also impacts our external business as well as our internal operations of the business. This becomes a key aspect. And now you have to think about yourself and your business and say, would I actually be willing to offer an external partner and external key sales channel and investor the opportunity to go on to WhatsApp and talk to you through that channel. No, you would not. You would want to find something which is professional, which is secure, which is available to customers outside of the organization that you can still keep that door open, maybe even make sure that in your crisis readiness plan that that tool is more secure than what you normally have because at that point you will be exchanging very sensitive data about your business, about the time to recovery, about your sales, over tools that are maybe not designed for that at all. So here's the revenue side of it because a lot of the time when we talk about cyber threats we talk about the losses and the misses and things that go wrong because that is kind of the way we talk about ransomware and all of those things. But actually think about this and 135 million in overall long-term sales is gonna be a lot of impact also on financial plans going forward. And actually only amplifying the concern for economic growth of the company going on a forward going basis. So that is another part to keep in mind that when you really look at it maybe include the sales and customer service teams in there because a large portion of the risk actually sits with those teams in terms of revenue losses and lack of growth to the business because this ultimately will slow down the growth which again will impact your market capitalization as a large business. And boards and externals they care as well. Of course they care about the market capitalization they care about the governance of the company the compliance of the company and increasingly where they board meeting would be a lot about compliance it would be a lot about the sales and all of those types of things they are increasingly getting involved in the actual work and auditing the security the compliance around that and they do pay more and more attention to these particular areas of the business.  So in saying so it is a key aspect for everyone involved in the business. So then we go to the key question which always is on everyone's lips. So is this just something where I should pour money into a black hole I should get ready for something that I hope will never happen to me regardless of the fact that we started out with a slide saying it's very, very likely there's a higher likelihood of it happening to you than not. So should I start pouring money into this hole? So I'm not sure that's the answer. I think the answer is that you're pouring money into a hole anyway because if you examine the other side of this where there's risk there's usually also insurance. And one of the fastest growing insurance markets in the current space is cyber insurance because they similarly to everyone else has seen the stats that I started out with where you have a massive growth in risk averseness from CEOs they're getting more and more scared it will happen. And therefore of course the value of the cyber insurance market will be growing as well. And if we look at how much is actually compromised it's about seven billion files on an annual basis. So it's a lot. And the cost to restore here this I put the lowest number. You can research some of the links that I've given below in the presentation but basically $140 per file is the cost to restore including getting it from backup, having consultants help, loss in brand it is kind of a compounded score for a normal file. Things that have higher value say a leaked annual report or anything to that tune can cost all the way up to 50,000. And now I say cost but that is how a cyber insurance will be assessed. So you take how many files are at risk what is the average sensitivity of these and how much can it impact the business if that gets tampered with. So what you're gonna face anyway is that you will have either a decision to make to fix the problem on making the solution right or you will face the consequences by paying a premium on insurance for not being ready. And on that note, the right way of doing that is of course to make sure that before you actually get to anything that's called insurance that you have made sure that you have a solution for the problem. And I gave you prior some of the key aspects of what it takes to put in a solution for such a problem because as I said earlier or also there are further penalties on this on GDPR and also on the amount of companies that actually get hit by this. So in totality when something like this actually is very prone to happen one should start looking around for a solution that underpins the five key aspects that I gave of what it takes to find a solution like this. So the thing about being on demand, being easy to use, underpin all of the functions in terms of crisis being compliant and increase the risk or increase the confidence from investors and external market entities because you can either argue to the market and to your investors, hey, we've taken out a cyber insurance policy that is very likely to be growing in terms of cost over the next years or we've taken out a solution which solves a large majority of the problem. So we believe that in any given circumstance we are less prone and more able to survive a full ransomware attack on our network. So don't just think of it as a cost and a risk prevention. The cost is there anywhere in either risk in insurance and you might as well look at it building it right from the outset. So I'll just try to recap some of the lessons and conclusions that we've come through throughout the presentation. You need to prepare whether large or big it will happen. When you look at it from an overall perspective include all of the business, include sales. They don't have a word for it yet but they are a key part of what happens to your business when you're held ransom or when you lose control of your network. Make it intuitive or risk that people download a social tool. If it's not intuitive, you have just seen from the case studies that we went through that people go to an on demand easy to use tool because that is what is really needed at that point. Make it secure. So protect the governance and the organization when this happens. Don't amplify the problem, try to contain it the problem. Make sure that the solution you choose for something to communicate and collaborate when you actually have a situation like an old picture happening again. You are ready also to protect the organization's communication at that point, protect your governance and be able to actually communicate with both internal and externals.  No, make sure that there are tools for sales customer facing functions to keep selling, keep serving customers, keep your reputation up because a large portion of the loss of reputation is that you're not able to serve your customers as you lose control of your network. So this is why we believe that the term crisis communication or business continuity, those are not the terms we should use in the future. We should use the term crisis collaboration and crisis collaboration is a secure fabric that everyone in the business can use that is ready on demand which is intuitive to use that you can basically pick up the day this happens and by doing so avoiding consequences of cyber insurance policies increasing and getting ready in that type of way. So basically, from all of these conclusions that I've given you some pointers that you can use from the data that we've examined or whether or not this will happen and the cost of whether or not this will happen, we at WIRE believe that there is a new breed that is called crisis collaboration that have the hallmarks of the five points that are made during the middle of the presentation and is amplified by being secure and being external so that you do not lose business as well over the course of the time where you do not have a full control of your network. And that allows business continuity in the IT division to work more and harder and more focused on the actual problem rather than solving the crisis collaboration challenge that is that the management needs to talk to the operations people that needs to talk to investor relations that needs to talk to partners that sales needs to talk to customers, all of that because that means that as long as we can collaborate internally, externally, a large portion of business can actually still be done. You can bring in the orders, you can communicate to the market to preserve your market capitalization. You can call for the best specialist to come and help you and you can stay in motion and not freeze completely. So on that, you can actually deliver a set of results that you can go talk to your boards and talk to your management about that you are able to put in place solutions to avoid this from happening. You can lower the risk, you can maintain sales production, you can use security as a fabric and not as an insurance and you can build board and investor trust which ultimately leads to better market trust. So there is a positive financial impact from doing this right, covering the risk, being ready and solutions are out there to actually be ready for those types of things. Thank you everyone. Have a great evening or a great day wherever you are and this will be the webinar. Thank you.


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Personal finance PowerPoint presentation to do before calling a real estate agent. Get ready to get financially fit by practicing personal finance. Most of this information can be found at Investopedia. Six things to do before you call a real estate agent, which you can find online. Take a look at the references, resources, continue your research from there. This is by Michael McClone, updated July 23rd, 2021. Six things to do before you call a real estate agent. So what do you need to do? What's the prep work before you take that step in the process? Ideally, if you're looking to call an agent, you should have the necessary financial considerations covered and be ready to show your home within weeks. So you're ready to go. You're ready to show the home. It could take time to get to that point. This takes time and depending on the shape of your home and your finances, it could take a lot of time. First impressions are vital in real estate. So don't risk a weak interest to the market before you consider who your agent will be. You need to cover the following steps. Number one, get pre-approved for a mortgage before you contract a real estate agent. Your first step is to learn what mortgage options are available to you. Many factors affect the term price interest rate of your mortgage. And any one of these factors will determine the home you can afford. Also, note that being pre-qualified for a mortgage is not the same as being pre-approved. While both processes involve analyzing your debts, income, and assets, only a pre-approved involves an official mortgage application. Number two, study the market. The mortgage for which you are pre-approved will dictate the price range of homes you should research. So once you have the idea of the mortgage that you can get pre-approved, then of course that can have an impact on the price range. You also want to be considering your own personal calculations and budgeting needs within this process, as well not dependent on the financial institution for your budgeting process, but trying to get pre-approved for what you can get pre-approved for or be access to the line of credit that you can and to do your own marketing or budgeting for that. But if you are also selling, you will need to know the market for homes similar to yours in your area. So you could be in a process where you're selling as well and then purchasing possibly a new home. Keep in mind that while you can research real estate ads online and in print, you will only learn the asking prices. A real estate agent will show you how long homes have been on the market, any price reductions, and most importantly the closing prices. So clearly more and more of this information is becoming available with online applications, but the real estate agent of course has more experience and possibly more resources with this kind of information. While it's important to research the market, don't fall in love with any properties just yet. So clearly you want to be able to walk away from any kind of property that you can, even if you really like in the property because you don't want to get too emotionally involved into one particular thing so that you can be nimble as you go through the market and make the best decision. There's a strong chance that the property won't be around by the time you're ready to buy, especially if you have to sell your home first. Subject to sale offers or as they say in the real estate industry, yeah, but offers have less chance of being accepted by the seller than offer that has its finances in order. So in other words, clearly if you're selling a home and then you're going to move into another home, then the idea would be of course, well I'm going to sell my home, I'm going to have the money, and then I'm going to purchase the next home. But obviously that interplay is less attractive to the seller of the home that you're buying because they would be more attracted by you having the money upfront. You're ready to go, you're ready to roll, and so if you were competing with someone else, then obviously the seller would be leaning towards the person that's going to pay them first, probably the most upfront, the most cash possibly, and then who could get access to the money the fastest and with the least amount of hurdles. Number three, declutter. Most of us have seen enough episodes of trading spaces to know how to stage a home. So obviously you see these kind of shows on the television and whatnot, so we want to make sure that we do the decluttering process of the home, make it look as big and expansive as we can. But did you know it's important to impress your real estate agent too? So we also want to make a good impression on the real estate agent preparing your home for an open house before a visit from an agent will help the agent to see the full potential of your home and allow him or her to better market the property. So even if it's a subconscious type of thing, when the agent comes into the home, we want the agent to feel invested in the home, feel good about selling the home, and want to be able to list it as positively and as highly as possible to get the sale. Pack away extra shoes and coats, so clearly we're going to get the clutter away, the decluttering process. Having these out in the open suggests a lack of closet storage space. So if you've got stuff on the floor, it might say, well, you've got no other place to put it. That's why it's on the floor. It also just kind of makes the place look a little bit smaller, less open. So remove any personal effects people want to imagine themselves in your space and pictures of your family reunion will quickly shatter the daydreams of prospective buyers. So you might have some decorations in the house, but maybe not the most personal decorator type of item. So it's more neutral to anybody that might be looking at it. Clear off your fridge, a clutter of alphabet magnets, postcards, and receipts will ruin the perception of an organized and peaceful home. So all the stuff on the fridge is kind of nice. It's kind of neat, but it's also pretty cluttery looking and again quite personal in nature. You want to have it kind of neutral, clean kind of look for it. And again, I think that also just makes it look kind of open, more spacious. So move out excess furniture. The more open spaces your home has, the larger it feels and more space allows people to imagine very, very possibilities for your home. So the furniture can look good, give you a cozy feel. But clearly if you have too much furniture, then it looks more cluttered or it looks less open. The goal is to have it look as spacious as possible, as big as possible, so people can imagine whatever they want in there and thinking that they have enough space to fit, whatever they want to fit to fit. So number four, clean. When it comes to selling your home at clean toilet, it will go a lot further than you might think. So obviously even a subconscious effect on these kind of things will have an impact. If you look at a dirty home, it could be a beautifully structured home and everything like that, if it's dirty, it's going to have an impact. A tidy home shows pride of ownership and suggests the place was maintained and cared for. So it's just like when you purchase a car, that prior person's maintenance of the car and or home is going to have an impact on how long it's going to be lasting. If you get the impression that it's not been cared for, then it's more likely that you're going to have issues, maintenance and whatnot in the future. For instance, the appearance of your entrance is just as important as any part of the interior. Make sure your mailbox, doormat and trim are all pristine. Light shades and features are our heavens for dust or havens for dust and insects. And while you may not notice them in your day to day, investigate home buyers may be put off by your by your shoddy housekeeping. So if you've got light kind of things there, then clearly the dust might be something that you don't notice on a day to day type of thing. Some people really do notice that kind of stuff and it could have an impression on them. So spotlight windows will let will let in more light and allow people to enjoy the view. So clearly if you can put more light in the house, that also makes the house look a little bit lighter, brighter, open, more spacious. Consider replacing the furnace filter to improve the airflow in your home as well as the quality of the air you breathe.  Keep the toilet seat down, keep the toilet seat. All right, that could have a subconscious impression as well. So it should be immaculate in the bathroom. Number five, repair, replace and refinish. Many longtime homeowners become accustomed to retrofit repairs and dated or deteriorated features. For example, make sure to patch and paint the walls. So clearly if there's blemishes on the walls, if there's holes in the walls, it shouldn't take too much expense to be able to patch and paint the walls and that can have a big impact on someone viewing the home to get the impression that the home is being taken care of. Painting in neutral colors will help people imagine themselves in your space. I think blank canvas and an unblemished wall will reinforce your care for the home. So if you're going to paint the home, typically you're trying not to generally make a bold statement about your personal opinions about the paint of the home. You're generally going to paint it so you give it that blank canvas and try to make it look as open and spacious as possible. So you're generally going to have those blank canvas kind of colors, those lighter neutral type of colors you would expect. Also, evaluate your curb repeal. Is your lawn mowed and weed free? The front of your home is the true first impression for most house hunters. So make sure your exterior is top notch. If you have an older home or are concerned about hidden surprises, you can have a pre-sale home inspection done so you can tackle repairs before buying or canceling bids. At the very least, you'll have an estimate of the cost of repairs so prospective buyers know what they are getting into. So even if you're not going through the repairs, you can have an idea of the repairs that are involved that won't give the impression, the same kind of impression that you would like for them to feel that the home has been taken care of so that they have an idea that the maintenance has been there and so you possibly have less maintenance costs in the future, but you can at least say, you know, I'm aware of these kind of things. I've looked into these particular things and here's an estimated cost of what it might cost to get those things picked up. Number six, scout potential agents. Don't just hire the first agent that appears in your Google search. So clearly, the top of the search, we know that Google gets paid oftentimes so if it's got a little ad thing next to it, then that might not be the best way to go. Take the time to shop around and find the agent that is suited to your needs. You can start by asking for referrals from people who have recently moved so clearly you can talk to friends, you can talk to people that have recently moved, possibly in your area, you would like an agent that is qualified and that also knows the particular area that you are looking into and there are several online resources for ranking and reviews realtors. So that's a great tool these days because the online tools, you know, nobody has direct control over them so you get these referrals that can be a good useful tool. So you also want to look for an agent that is familiar with selling homes in your area. So don't just say, well, they're qualified, they're an agent. Well, are they working in the area that you want to be in because real estate is local? So as they will be experts on pricing your home appropriately, as well, an agent with a lengthy experience in the real estate business will have a large network of contacts to help advise your home and find you a new one. So they might have a big contact list which could be useful. Remember, these agents will be taking as much as 7% of the closing price. What? Of your home. So make sure you are hiring someone who is prepared to work hard. So that is a substantial fee depending on the home price, but whatever the home price, typically substantial. Bottom line, so as with any major sale or purchase, your first step to selling or buying at home involves homework and preparation. It's up to you to make your home appealing before you hire an agent. Remember, even the most skilled and experienced real estate agent will fail unless you receive an offer and demand won't be high for your home if you fail to follow this list.


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Hi everyone this is Jason here from Nathaniel and in this lesson let's learn how to accompany ourselves on the piano to play the great church hymn Amazing Grace. We are going to use the F major scale to play the song. The chords are really simple so I will walk you through the chords as I play but the main objective of this lesson is to show you how you can create a great rich dense accompaniment pattern in your left hand which can serve as a very rigid and strong foundation for anything you do in the right hand. Any kind of improvisation or embellishment to the melody so the lesson is not so much about the melody because the assumption is that you know the melody right. I will go through the melody once just to recap but the assumption is yeah you kind of know how to play Amazing Grace but maybe you've played it with just simple chord blocks if you will in the left hand or maybe in a choral manner with the soprano alto tenor bass lines which which is great I mean there are so many ways of playing it but the main intention of this lesson is to show you a technique or to rely on your left hand to pretty much cover your entire harmony base and rhythm department and allow your right hand to just do whatever your head wants it to do you know. So let's get right into the video and if you haven't already it'll be awesome if you could subscribe to our channel and hit that bell icon for notifications you'll get a reminder of all the new lessons coming your way. So let's get started let me just show you the entire melody first with simple chord blocks and I'll try and call out the chords and hum the tune at the same time so that you get an idea of what we have chosen for this lesson okay amazing grace that's amazing F major saying grace there we need an F dominant seventh which leads to how sweet B flat the sound let's do that again amazing and it's on a three beat per bar or a waltz field three by fours how it's normally performed I'm going to also stick with that amazing grace F seventh how sweet B flat the sound back to the tonic okay so it's very interesting how the tonic chord F major feels stable and then when you add the dominant element to it it just immediately feels unstable because the dominant chord has the property to resolve to another chord so F dominant will resolve to B flat and B flat comes back to F that's the plagal or the the church cadence if you will amazing grace how sweet B flat the sound F moving on that's saved I'm preferring a D minor seventh there G seventh like me so you go like me C major and then C dominant which takes you back to the F major chord that's saved D minor G dominant like me normal C major going to C dominant seventh okay line three same chords but now that's F F seventh B flat F major was blind but now I see same D minor but now you could do a C major or a C dominant seventh I'm doing a B flat and then F I always like to do the B flat going to F generally even if it's not there if it's a gospel song or a church choral hymn like piece of music primarily because that's a that's a very tried and tested cadence and makes the makes the song also very unique for that genre or that variety of music right my C you could have easily done was blind but now I see that would be sort of vanilla or quite normal but what we can add there was blind D minor in country music or in gospel music we do a lot of the we can glide that B flat effortlessly down to the F major chord right so in this lesson we are trying to look at an accompaniment process in the left hand and free up the right hand to do all sorts of other colorful ways of embellishing the melody I've chosen a voicing in the left hand which allows you to go really deep that serves two uses one use is it allows your melody and your harmony to work separately away from clashing with each other because you'll find like a melody if the right hand invading the left hand chord or vice versa and then you'll have to compensate by playing the left hand really low and then that starts creating a very muddy texture right so a great way to solve this problem is to play your chords really deep in a spread voicing in your left hand starting low and then play your right hand all over the place you have an entire what three to four octaves to enjoy your right hand melody so let's get started and I'm going to call it out chord by chord and show you how I'm voicing each chord okay F major F dominant see how I'm forming the dominant F major was one five upper third or upper tenth higher third okay and then I go to F dominant by replacing the fifth with the dominant seventh so let's do that together amazing grace F dominant how sweet normal B flat the sound you could come back to F major or you could even do how sweet the sound you could play an F major chord with an A bass there's also a very beautiful sound how sweet the sound let's do that again amazing grace F dominant how sweet you could even play B flat how sweet the sound if you want you can even go a lot deeper and on the keyboard but I'm going to choose the normal B flat how sweet the sound come back all the way down or how sweet the sound okay and of course you can do the same melody which I just sung in the right hand let's see how it sounds on the keyboard amazing grace okay I hope you've got line one let's do the next line that saved now here that saved I'm choosing a D minor which you could either play in this form D A F or that you can even add a minor seventh flavoring that saved or that saved each whichever you prefer I'm just going to go with a normal D minor for now that saved now G is is the next chord after D minor you could play it as G major or I like that as well in fact I think I like this better G seventh okay like me the first me will be normal C major which you would also play in this way like me could do a lot of things there because it's C major for a long long time so that saved D minor G seventh like me resolve it like me C major or C dominant or place C major going to C dominant you could even try this voicing which is a bit spread I don't know if you will be able to stretch so much but for that we always have our handy sustain pedal like me so this creates a nice 11th interval like me and then resolve it back to a dominant or major so you have three options for that C major chord event you can go C G E so you have three options for that C major chord event you can go C G E C dominant more flavor with the 11th sound okay and then resolve it okay coming to line three pretty much the same as line one there's your F dominant but now normal B flat M found that same F over A voicing and now the ending was blind D minor but now again there are a lot of options with that C chord but now if you'd like just keep a simple C major now or a C dominant I see with a lot of chords so let's let's try and understand that I see normally you could just do I see B flat major going to back to the tonic but what you could also do to add more embellishments or a more passing chord flavor could be high C what did I do there B flat major F over A bass G minor end on F okay let's try and deal with that line number three and line number four together I once was lost but now B flat and found last line was blind but now I see or was blind but now keep it simple I see B flat going to okay that's the entire song played with the spread voicing technique in the left hand and that frees up your right hand to sort of embellish the melody this is a great melody to practice improvisation if you've listened to this song for years and years in church I would imagine that you this song is sort of like a year worm it's stuck inside you so you can use songs like this to really expand your melodic and harmonic playing so let's just recap everything once and then let's conclude all our chords are played in a spread environment so instead of playing F major like that or F seventh like that you play like that it's clean it's rich it's colorful and it's really low on the piano you're exploiting the lower register of your instrument right which you cannot really do in this way people are going to get very angry with you okay so this is a very orchestral voicing or a choral voicing if you will which we are trying to do in our left hand so this is how I'm playing my chord F major F dominant you just shift the fifth and in a nutshell it's just three notes per chord you're just trying to figure out three notes to play your chords in a nice spread voicing environment so we go amazing grace F seventh how sweet B flat the sound that saved D minor a rich I love that chord G seventh like me okay you could do 11th or seventh or a normal vanilla major chord seventh but now B flat I am found F with A was blind but now I see right so I've not really talked too much about the right hand that was not the intention behind this lesson the idea is I'm sure you know this tune you would have heard this a ton of times it's a very popular song so I hope you've learned something from this lesson and you can use this song hopefully or these techniques to play a few other songs also which you're going to take up at a later stage again this is Jason here from Nathaniel thanks for watching this video do subscribe hit the bell icon for notifications consider subscribing to us on our patreon channel where you will get notation and a lot of other resources to enhance your learning and keep rocking cheers


Hello friends, I am Sanjay Gupta. In this video, I am going to demonstrate you how you can print this pattern in C programming. Before starting, you can note my information. You can follow or subscribe my YouTube channel through this link that is youtube.com slash sanjaygupta underscore tech school. You can download my app that is Techim is based on programming which is available on Google Play. Now, first we have to analyze this pattern how we can display it. So here you can see some spaces are available and then S to risk symbol is available. So here you have to implement three loops. First will be representing which row you are printing. Second loop is responsible for printing this space and third loop will be printing this S to risk. Now we have to identify how many spaces are available here. So first I am modifying this pattern like this. Here hyphen is representing number of spaces. So you can see in first row total number of spaces are four and one S to risk we have to display. Then in second row three spaces and two S to risk then two spaces three S to risk then one space for S to risk then zero space and five S to risk. It means space loop will repeat four, three, two, one and zero times and S to risk loop will repeat one, two, three, four and five times. So now I am going to implement a code for you. Here you can see using printf scanf I am asking number of rows from user. Then first time implementing I loop which will repeat and times. So this loop is responsible for printing number of rows which are required by the user. Then first I have to print the spaces and then S to risk. So this time I am implementing one more loop J and its condition is J less than equals to I sorry N minus I and then J plus plus inside this loop I will be printing space. So now we have to check this. Suppose value of N is five. So this loop is starting from one. I is one first time. So five minus one here value will become four. So this loop is starting from one and condition is J less than equals to four. So this loop will repeat four times. So four spaces will be displayed and our requirement is also four spaces. So four spaces will be printed properly. Now after this loop, I have to implement one more loop to print asterisk. So this loop I am repeating I times because it is dependent upon the number of row which we are printing inside this loop. I am printing asterisk sign after completion of this for loop. I am printing new line so that each room will be displayed in separate lines. So this way I have implemented all all these instructions. So these loops, these two loops are independent. So J loop is not dependent on K and K is not dependent on J. So for I, J and K both are nested loops. But J and K will work independently. J is repeating first time four times then it will repeat three times then two times then one time and K loop first time it will repeat one time then two times then three times then four and then five. So now I am executing this code. Sorry, I have not declared K here. I am entering five. You can see the output. It is displaying the pattern which which is required here. So it is printing this pattern without any hyphen. So I have used this hyphen for your understanding purpose. This hyphen is basically representing number of spaces. So you can see the required pattern is printed on console with the help of this C program. I hope you have understood how you can implement the pattern with the help of these loops in C programming. If you want to watch more programming related videos, you can follow my YouTube channel through this link that is youtube.com slash sanjay gupta underscore tech school. Thank you for watching this video.


Good day, fellow investors. Today I want to give you an update on what's going on with gold and why are prices rising despite higher interest rates. I want to discuss what can happen to gold in the short, medium and long term and then I want to always discuss what are the opportunities to hedge ourselves with gold from whatever can happen. So let's start. Gold prices in the last 12 months have increased about 7-8% but are on an upward trend. This wasn't expected because higher interest rates make assets that have yields much more attractive than gold because gold is a non-yielding asset. So why is gold up? That is for a few reasons. Let's start by discussing them one by one. The most recent reason for gold being higher is that the president hired some hardliners in his staff which might even if North Korea has eased a bit which might increase tensions with Iran. So that's one but that I hope is just news noise. Some other fundamental reasons are behind people like Ray Dalio or John Paulson getting more and more into gold now as a hedge for what might happen. Higher interest rates don't only mean higher yields on bonds and similar investments. Higher interest rates also mean higher interest payments, higher interest costs, higher debt burden on all of those that are indebted. So we have to see how will that evolve with higher interest rates. Will the Fed manage to make the economy go through a soft landing and we won't see a recession or we will see a global recession from the overburdened companies, consumers, private consumers, countries whatever that will lead into a more difficult recession, difficult deleveraging parts when gold would be the safe heaven where to run to. The first thing is that global demand for US debt is waning down. So it has been around 43-44% of total US debt and now has fallen over the last two years to 38.25. This means that people around the globe have less faith in US debt despite the higher interest rates. However, those higher interest rates make it much more difficult for consumers to repay their loans and we have seen consumer stress increasing. Delinquency rates on credit card increased from 3% a few years ago to 5.8 which is huge. Auto loans increased from just about 3% they crossed now 4% delinquency rates which is a very very bad signal for what might happen and again signals the late part of the economic cycle and that we might be close to a recession. And if there is a recession in the next 6, 12, 1 year, 2 years what will be the medicine the politicians and central banks have for it? Well as always it will probably be more monetary easing, money printing, helicopter money, buying bonds, buying assets, helping those bailing out those who go bankrupt and the similar stuff that we have seen going on over the last 10 years. So if that happens the first thing is that gold will be seen as a protective asset during the turmoil and then later it will be rebalanced again to the amount of money in the environment. From 2002 to 2012 gold went from 200 to 1800 then it dropped as things normalized a bit. Now we are at 1300 if the Federal Reserve, Central European Bank, Bank of Japan continue to print money and increase their money printing we might see gold at much much much higher levels. That's the long term. The medium term we will see how this balances out some big players like Ray Dalio have started positioning themselves already a bit more into gold so they are always positioned but they rebalance this in relation to the risks which means that they see less risk now that gold has started to go higher even with higher interest rates so that's very interesting to follow and there isn't such a huge market for gold. Gold has a limited supply which makes it very very attractive and it's very very possible to see high spikes in it therefore each portfolio has to be exposed to gold even if some might not agree like Warren Buffett let me use Dalio to explain you why Warren Buffett is wrong and why everybody should own gold. I think gold should be a part of everybody's portfolio to some degree because it diversifies the portfolio it is the alternative money we have a situation now where when you have too much debt too much debt leads to the printing of money to make it easier to service so all of those things mean that some portion should be in gold. Warren Buffett won't touch gold. You think he's wrong? Clearly you must. I think he's making a big mistake. Gold is like cash it's an alternative version of cash so over long term it's not the best investment over long term it's you know a little bit better than cash over long term. It is as however when you're having a monetary crisis when you have a fiat monetary system and you have the need for money that is a promise to deliver money. So if you look at each of those devaluations that have taken place each of what March 1933 President Roosevelt closes the banks and then opens them and says you can get your money and then they broke the link with gold and so the history over that period of time is that money can be produced gold is somewhat limited it's an effective it's an alternative that should be part of everybody's portfolio but not in a big way. Thank you Ray. Let's go back to the debt and see how that debt evolved over the last 40 years. When I was born in 1983 the total debt in the US was just one tenth of what it is now and if we compare the total debt now with 2008 it is 25 percent higher. This means that the debt burden has been just increasing increasing and increasing because the economy is fueled by it and there is nothing else that can lead to economic growth than debt. So the scenarios are short term we might see more positioning in gold from the big players which might slowly drive the price higher. Something can always happen it can drop like a rock that's always a risk but this is what's going on. Big players are shortly positioning themselves into gold. In the medium term if there is a recession if there is market turmoil then gold might spike even more. If in the long term people lose faith in fiat currencies and rush to gold then it might explode just like the bitcoin did in the last year. So those are the scenarios for gold. Let's see how you can be hedged for them. There are three ways you can hedge yourself you can own physical gold or silver you can own a physical gold ETF and you can own gold miners each one of those has own benefits and disadvantages. I want to focus on gold miners and discuss their not so perfect correlation with gold. As we have seen before gold is up 8% but the gold miners ETF is down 4% over the last year and you can see that the gold miners ETF over the five-year period has been extremely volatile. It's still down 41% but is up more than 100% from the lows of the end of 2015. So you have to see also perhaps the best way to expose yourself to gold is to have a mixture of all those positions. Physical gold as the safety ETF gold as the rebalancing liquidity and gold miners as the crazy play on gold if gold prices explode gold gold mining margins would also explode so you want to own good gold miners in good jurisdictions that give you the safety the legal safety of the huge margins they might have if gold prices explode. We'll continue to discuss gold hedges silver hedges on this channel so consider subscribing if you are into that but every investor should have a gold and silver hedge so definitely should subscribe to this channel. Thank you for watching looking forward to your comments and I'll see you in the next video.


With our previous video, I began our chapter on classification. Now you may remember last time we took a look at the iris dataset. So, opening it up in orange again, notice the leftmost column is colored gray. We refer to this iris column as the class, or target variable. Now we can also take a further look at the structure of this dataset's features with the select columns widget. Apart from our categorical target variable that tells us what kind of flower we're dealing with, there's also four more features which describe the flower with various measurements. So, let's try to plot this data out. Okay, it looks a little bit messy. The citosas are way off on one side, but the versicolors and virginicas are completely mixed up. Luckily, we can press the Find Informative Projections button. This will help us find a combination of features that separate the three classes as much as possible. And as it turns out, a combination of pedal length and pedal width yield the best results. Now, orange has a bunch of features like this hidden all over the place, and we try to do our best to keep them well documented, but some can slip through the cracks. On the bright side though, if you go looking, you might find some nice easter eggs. Anyway, we were talking about flowers. So remember, my goal from the previous video was to find a model that could predict the species of virus based on their leaf measurements. And the truly amazing part here, as you'll see, is that this model is so simple, I don't even need a computer to memorize it and use it in practice. So, let me dive into this visualization. Now, I could draw a line that separates the citosas from the other two species, right about there. And I can even then write this down. If pedal length is less than 2, then citosa. Else, now, what happens when the pedal length is larger than 2? Well, we can try to draw another line that separates the versicolors from the virginicas about here at a pedal width of 1.7. And let's write this condition down too. If pedal width is greater than 1.7, then virginica. Else, versicolor. Okay, I could keep going further and try to deal with these outliers here. But my point is that with only two rules, I can already build a pretty good classifier. Now, this set of rules I just wrote down can also be represented as a tree. I start with all the data, then I split it into subsets that get more and more accurate at predicting the target. So, the obvious next step is to see what an actual tree would look like in orange. And let's use the tree widget. Then we can visualize the results with the tree viewer. There we go. It looks similar to what I made. I split my data by pedal length first to get all the citosas on the left, and the second split was according to pedal width. Then you can see that this tree actually does keep on going a little bit further, until its leaves are clean enough. Now, if we try clicking on any of the nodes, we'll get the corresponding data instances on the output. So let's try this one here. The viewer is now outputting 54 irises. It looks like most of them are versicolors, but there's also five virginicas. Now it can often be useful to use these types of selections together with a scatter plot and connect them to this selected data set. So, opening the two widgets side by side, I can explore my classification tree. The root node contains all the data instances. Here on the left, we find all the citosas. And on the right is a mixture of virginicas and versicolors. Now, this mix is further split by a pedal width into a group with mostly versicolors, and a group with 45 virginicas and one versicolor. Classification trees are one of the simplest prediction algorithms, but as we've seen, they can already be pretty effective. Now, I skimmed over a couple of topics, and I feel like I still owe you a better explanation of how exactly orange knows when to stop growing the trees, and how it selects features for splitting the data. But time is running out, so you'll have to wait until our next video.


In that 25 years, you've actually cited 25 years, it takes 25 years to make a meeting. What is it you learn? You learn presence, you learn a oneness with an audience, you learn a sense of who you are and what your own strengths are, but those are obvious to me and I'm not a comedian.  You know, your top, your best show keeps getting higher and higher, that's the first thing. How good you can do keeps increasing, but then the really important thing is how bad your worst show starts coming up. That's, I think that's for any performer, you know, your worst show needs to come up close to the best show so that even on your worst night, you still get it. So in the new season, your best show, the worst show should be much closer to the best show. It should be a margin, should be like that, that's right. Yeah. So yeah. How does that happen? Well, experience is just experience. Just, you know, there's hardly any situation that I haven't seen. So, you know, when I feel an audience, you know, you get an instinct for things.


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Hello Aces, welcome back to module three, lesson number four, crafting your branding asset. In this lesson, we're going to identify the 12 pieces of branding assets that are essential for your restaurant's success. So we talked about building out your build out team, assembling that we talked about finding a great location. Now is time for the fun stuff to identify the branding that you need for your restaurant. Now what does branding really mean? It means way more than just a logo. The biggest misconception that people have is saying that branding equals logo. It is not logo, okay? It goes way beyond that. It is a way that people see your business, how you identify your business. It is a way of how your customers recognize and experience and interact with your brand. That is what branding essentially means. Now branding really talks about the customer service and experience because that's how people are communicating with your restaurant. And that's the reason why Starbucks did a such amazing job to ensure that this value and this customer service is baked into all the trainings that they've done with their service staff. That becomes part of their branding because they want to be known for being inclusive. They want to be being known for having a stellar customer experience to make people feel like that it's at home. It represents your values, okay? Branding is basically representing of how you should show up to the world and how you show up as defined by your values. And that's the reason why Starbucks does once again an amazing job to be inclusive. That's why they have opened a death friendly store where all the baristas know American Sign Language and they even have this stitched onto their apron to really showcase to the customers that they are inclusive and that's becoming what their identity is as well. It also represents your culture. Branding represents your culture of what you believe in, what is your why, what is your purpose and you need to be able to communicate this whole thing with your team and your team is just an extension of that. And when your team and you and your suppliers and everything that you do really talks and works in a sync and alignment of all these values and how you act, that becomes your culture. And we're going to dive a little bit more into how you can create a good culture later on in the respective modules and lessons. Next up it is branding is your marketing pretty much how you show up to the world. Basically, we're talking about social media, we're talking about email newsletters, your website, basically how you communicate all your marketing channels in the campaigns that you do should and is part of your branding. Next up is your language and your uniform as well, having your own language and having your own definition of the language is super important when it comes to branding, just like how Starbucks does an amazing job with their tall cups. Typically speaking, before Starbucks came up with this term, we always thought that tall was this. This is a tall guys, right? But now Starbucks brought it back and they said that, hey guys, this is our version of a tall. Now, because we're so exposed to their language, now this, this just becomes part of what we know as tall. This gives a sense of how we should act when we're in Starbucks' world. And that is why the branding is so brilliant, because that's baked into their language as well. It also represents your why, your how, and your what. And that's the reason why we have identified all these in module one, because it is crucial for your success when you are able to identify all these and work them into your branding. All of this is the higher level, the conceptual level that I want to be able to explain to you and why it is important for us to do that right from the get go. And that's when we have our entrepreneurs hat on. Now for the sake of this lesson, we need to put back our technician hat time to get to work. So let's focus on the designs, the 12 different assets for your restaurant. Number one, logo, just because I said that logo is not branding doesn't mean that you should not have a logo for your branding. Logo is just part of one component for your branding. Okay. So to create a logo, you don't need to be super complex, find something that sticks and run with it. It could be stylized text like cactus club or the subway, or it could be a logo font like this one. This is what I mean by stylized text, or it could just be something that has a mark has a logo right here. It could be anything at the end of the day. It honestly does not matter because as we're just starting off our restaurant, a logo is just an expression of what we want to bring out to the world. It's important for you. But as a consumer, honestly, it doesn't really matter that much. You would want to do a several sketches to have your ideas put out so then that way you can communicate with your designer properly and have them build out different versions of your logo. This is typically what I see a lot of people struggle with is that they spend weeks creating their logo, scrapping it, creating it again, scrapping it, not finding that not really focusing on what truly matters. Logo is just one item and honestly, it does not matter that much. So put choose one, run and then run with it. Second thing is your website. Your purpose to promote new deals or campaigns or is it your purpose to showcase the menu and the different locations you have? You need to know and identify what is the main purpose of your website. Make sure you design your website based on the purpose of what you want to serve, whether it be showing and telling people what you have to offer or is it a franchise request? Or is it just that you want to push everyone to order online through your own platform? These are all really important and essential items that you need to pinpoint right from the get go. It doesn't have to be complex nor should it be super high end. However, you should definitely make it picture oriented because that's really how people consume content nowadays is that it needs to be visually appealing. And on top of that, you must, and I repeat, you must cater to mobile first because nine out of 10 people, they're not on their computer looking for food to eat. They're basically on their phone. They're on the go and they're like, what should we go? Where should we eat? Let's check out these guys. Let's stock these guys. And that's the reason why having mobile version is super crucial for you to be able to convert these potential customers into paying customers. Third up is menu design. Make sure you keep it congruent with all the different designs that you have and everything that I'm mentioning right now, you should have a style guide, your designer with designer style guide, which ties everything together, make it congruent, make it so then that way it represents your brand. Focus on highlighting items from the winning matrix. We talked about the cash cow. We talked about the shooting stars. We talked about these things. Make sure that you focus on the winning matrix. If you're, if you want a refresher or if you haven't had a chance to go through that, make sure you go back to module two lesson 6.1. And that's where we talked about how you can create and craft your winning matrix for the menu. Next up, business cards. Once again, make it congruent with all the rest of the designs, social media pages, keep the designs consistent across all the different channels. Be on the channels where your consumers are hanging out, whether it be on LinkedIn, whether it be Instagram, whether it be TikTok, Facebook, it doesn't matter.  And so if you are catering to 12 or let's say 14 year old or 15 year olds, then make sure you're on TikTok because that's where they're hanging out and that's where they're spending majority of their time. Whereas if you're trying to cater to people who are in their 40s, 50s, who are professionals, then probably TikTok is not the best channel for you to put up content. Definitely make sure that your designers are aware of the different sizes that are native to the platform. So for example, if they create an image for Instagram, that image would not show up nicely on TikTok, nor would it show up nicely on Facebook or the website. So make sure creating content specifically for the platform is also key to making sure that everything is congruent. So we talked about that. Frictionness is part of the experience, making sure that the whole experience is stellar, making sure that all the links work, making sure that the experience that your customers are experiencing when they're on your social media works because you want to make it frictionous for your customers. Next up is marketing materials. So typically speaking, we always do campaigns. We always have new launches, new items, new features. You definitely need to make sure that all these types of marketing materials are easy and easy to read and very easy to understand as well. Do not confuse your consumers with tons of different offers because if you do that, once they have a overload of information, they're confused, they end up not choosing, they end up just kind of brushing by. But if you just focus on this one item and one offer, oftentimes it really gets the message across. And if it is something your customers are looking for, they'll come in and dine at your place. Sandwich boards are also very, very important. Make sure that you have a killer offer, recommend only one offer, and at the end of the day, know for one thing. The number one and the only reason why your sandwich board exists is to pull in customers. It's your job to make sure that the sandwich boards has an offer that people can't refuse when they see it. That's the key with sandwich boards. Do not put in your full menu on the sandwich boards. This is a mistake that I see a lot of people are making is that they just keep overloading all the different spaces within their sandwich boards. That's not the intent of a sandwich board. It is for them to come in. Once they're in, then you can educate them, then you can sell them on more items. Coupons and loyalty cards, make sure you have fun with it, make it simple again, making it sure that these items are engaging. We dive a lot more into this in module six, lesson five, so make sure you guys keep watching. Number nine, uniforms, window arts, store design. Once again, these are all items that you need to ensure are congruent with the style guide, with everything and all the different assets that you're creating as well. That's how people see and that's how people experience with your brand and that's the reason why you need to make sure every item that I'm describing are congruent and that's what's going to give your customers a great impression of your brand. Once again, packaging as well, making sure that it is aligned with your style guide, with your values and what you believe in. For us, we believe in having fun. That's part of our values. That's why we cater to our audience of the millennials. So that's why when we are creating these cups, our intent was to make sure that it goes aligned with our values to have fun and that's what you can see is that we have a really great awesome packaging. A note here is that you don't need to focus on packaging right off the bat. It is lowest on the priority list, right? Focus on the items that I talked about earlier in this lesson first. And last up are branded merchandise. Once again, it is lower in priority as well, but nonetheless, these are also great things to help you brand your restaurant. Branding assets you need for your restaurants. These are the items you need for you to feel that feel like that you are professional, that you are a well-established brand. And that's how your customers would interact with you. Now you may be asking you're like, Hey, Wilson, but how do I even create everything like this? I know exactly what you're talking about, but how? And that's the reason why you need to choose a great designer. And that's what we're going to be covering in the next lesson. Today's lesson, we covered how do you create the 12 essential branding assets for your restaurant? Next up, we're talking about where to find good designers and how do you spot the bad ones? So then that way you can save yourself a ton of money. I'll see you guys in the next video.


Hi there. It's Sandy and today I'm going to do a monochromatic dramatic scene. That kind of rhymes, doesn't it? I use some stamps from MFT and a set of markers that goes from very, very pale to very, very dark. The grains are going to be the easiest to do this in because they have the widest range, although you probably could get away with it with a group of blues. But keep yourself in a narrow range of color so that you're only dealing with light and dark. That's going to make it a lot easier. You can create drama, of course, with all kinds of other colors. It's just easier to think through the process when you're using just one color. So I'm using just the warm gray markers. And one of the first things to do, of course, is to set the scene. Sketch it out wherever your mountains and trees and everything else are in a light color. If you sketch it out in pencil, you're going to end up with pencil lines trapped underneath of the Copic. So I always sketch in a very light Copic marker. And then one of the earliest things you want to do is set your darks. Figure out something that's going to definitely be dark and use your darkest markers. You want to set that range so that you know where you're headed in terms of your darkest colors. And the pterodactyl was the thing I chose to color first using the darkest colors under the wings because that's where the light is hidden from. The light is coming from above and to the right for the Brontosaurus. I'm going to leave just a tiny bit of light on a couple spots on the Brontosaurus across the front of the face and then the top of the back, maybe down a little bit of the right side of the back.  And when you're trying to create drama, don't be afraid of darks. Even though I'm drawing in all these legs right now, coloring them in, doing that mostly just so you can see that it's a Brontosaurus, that's all going to disappear in a very short moment here. So I'm going to use a middle color to blend those and then a light to soften the edges so that it blends into that lighter color a little bit better. Next, I'm going to jump into drama right away. The light is coming from the upper right so I'm going to create a dramatic hillside that this Brontosaurus is standing on. And it's going to lead out to a river or maybe that's a little plateau. I don't know what that is but whatever it is, he's standing on something and there's going to be some greenery. Well, grayery, I guess it's grayery when I'm coloring it in Grace. And I'm going to make just a little bit of detail, excuse me, detail down at the bottom so that each one of these hillsides has just a little tiny bit of detail at the top so you can tell that it's some kind of undergrowth in the scene. Within the darks, this is not the darkest dark until I get to creating the negative shapes. The negative shapes are created by my darkest dark so that I have a dark highlight within the dark area. Moving over to the other side, the sun is going to be hitting that left side so I don't want it as dark as the right side. The scene in the background, whatever is going to be the shrubberies and things in the background is going to be less dark than the foreground so that I still have that drama, I still have the darker on the right side but not as dark as the foreground. And then the left side, I'm going to allow more sunshine to hit the tops of those different parts of the greenery. Try to soften out some of these areas that are moving up toward the mountain in the background and try to decide whether I wanted to put the trees in yet or not. I wanted to have some very distinct prehistoric looking palm tree kind of things but I decided that I needed to put the mountain in first because the mountain is going to go behind it and then I'm going to use a darker marker for those trees. The mountain is a part that's least easy to explain because really I'm just creating different kinds of mountain shapes with light markers and it's a succession of light markers and going back and forth between the zero, the double zero, the one, the two and trying to create some distinctive shapes but letting it all blend together. This has to be really soft in order for the things in the foreground to pop forward so I want to keep the color really light but I need to have enough color that I can get some detail in it and that takes a whole bunch of layers to get that to happen and in this whole scene it ended up being less and less white paper showing. I wanted to have almost a waterfall coming down the center and that meant that I had to start darkening everything else so that it would look like water. Not that anybody is going to immediately think oh that's water and and that that's a waterfall but I wanted to create that kind of contrast in the colors by putting darker colors around it and giving it a little more detail so that that water would start to pop forward. You can kind of see me thinking through this almost and changing my mind and going with a little darker here a little lighter there in order to create some shapes within this mass and in order to try to create some sort of tall feeling to it I wanted it to feel like these huge huge peaks most of my strokes I'm just keeping vertical but I'm trying to blend them as as much as I can so that I don't end up with stripes you don't want to necessarily end up looking like a striped mountain but having a few details enough in it that you get that that soaring feeling and then at the very very bottom a little bit lighter color coming up from the place where these trees are going to be in front of so you almost feel a mist at the base. So next are the trees this was one of my favorite parts to add because I love when you can add a little detail like these just scrubby trees I'm not putting any great effort into them but they're in a darkish mid-tone they're not a full-on dark color and sorry about that being off-camera I kept sliding down further but not you're not really missing anything other than the tree trunks which you will see in the finished card so these slimline cards are a little tougher to see all the thing on the camera and all of this meant that I needed to put some color into the sky because there was really very very little white left on the paper because I had all this drama so I just scrubbed in a sky and it almost helped that my marker was drying out so that I got this sort of pock marky sort of cloudy sky worked really nicely so there is the finished card which is really fun to do it's a fun experiment to try with your gray markers. If you are into making scenes of course there are tons of scene classes over on my teaching website there's also a collection of all of my Copic videos that are on the blog right now you can go check them all out and see them by thumbnails instead of trying to watch through them by going through playlists here on YouTube it's a little easier way to view them all so you can go check that out and I will see you guys later on take care bye bye


Hello everybody and welcome to another hobby-cheating video and today we're gonna talk about strategies to get your army painted Sometimes getting that full army is the toughest hurdle we have to overcome and today I'm gonna give you the tips the tactics that'll get you from gray to painted army. Let's get into it The strict techno man sir that is Vincy V. Let us get to the technique and learn it Vincy V I think there's a lot of people in this hobby who play for years and yet never really get themselves to that fully painted army And that's rough now as with any video like this There's only so much advice I can give and everything I say may work for you or may not So I want to say that right off the top that we're all individuals we're all beautiful individual snowflakes and What works for me may not work for you But I've worked with a lot of people for a long time on painting and I hope some of these tips might be useful to you So let's see what we can do tip number one it sounds a bit trite and it's become so in the modern world but Don't be afraid to quit and get rid of things that don't well. Let's just say it spark joy Now it might sound strange that my first piece of advice When it comes to getting something painted is to stop painting and sell stuff, but that's is what I'm saying If you're the type of person who's been in the hobby for a while And you have a ton of half finished projects or things that you look at and go Well, I might return to that one day or there's a chance I'll finish that or oh I'll just put those to the side and you know Maybe I'll have a chance to get to him if the stars align and I suddenly don't have a job anymore And I win the lottery and also my kids suddenly spontaneously become adults in some kind of big situation Then I'll have the time to paint that army Stop fooling yourself stop lying yourself and stop letting all of those unpainted figs hang over your head like the sword of Damocles If you're not gonna return to the project and you don't actively play the army That is to say you're not playing it as gray. If it's just literally sitting there on the shelf get rid of it Sell it give it to a friend Whatever find somebody in your club who can re-home it lots of different ways you can go But get it off of your plate because when we have too many of those undone projects They be they put a weight of opportunity cost on us every time we sit down at the desk You sit down at the desk and instead of just getting to the project you're working on you think well Should I work on this or should I work on this or there's that old thing? I didn't do hmm, and you go through all of that and guess what you've burnt 20 minutes 30 minutes You haven't painted a darn thing and then when you do paint something you feel guilty about all the things You're not painting get rid of That stuff again only if you're not using it if it is something if you're playing with your friends and you know You're friends have you know play with the gray stuff And you don't care then cool keep it and keep using it and having fun with it But if it's any in any way a weight If it's any in any way a bag of bricks you're carrying around then you need to let go of that bag of bricks And that means getting rid of those fix tip number two I'm gonna call this the ordered work plan Now in my normal daily life I often have to set up project plans and I do a lot of project management It's sort of what I do for a living Which means when it comes to painting I take the same strategy I am fully aware that this is something that will not work for everyone But let me see if I can make it a little simpler for you When you're sitting down to paint an army Think about the units you want to paint the things you need to do to get to 2,000 points or whatever your goal happens to be and divide those up into sort of unfun things and fun things for lack of a better term and Make sure you have to paint one to two quote-unquote unfun things for every one fun thing you paint Let's make that more real if you're painting the average sort of army That means you have some mix of troops guys You have to do in mass to some way or another could be a lot of infantry or some cavalry or something like that And then you probably have some mix of heroes and centerpieces or artillery things or singular type of items Right where it's more just one piece now for me personally I find the heroes and the centerpieces a lot of fun It's one thing you get to experiment you get to make them special and you feel really good when you're done Because sometimes those individual heroes or characters They might be 10 20% of your total army for painting that one fig. Oh, what a win Right, but when you're doing the mass troops, you know, I've painted escaven army I have like 13,000 points escaven It really does kind of suck when you just finish one little clan rat And it's you know less than 1% of your total force effectively That's that can be a bit painful as such I Demarcate those into unfun and fun, but your line might be different You might really enjoy certain troops and not others Maybe it's because of the way they look how they appeal to you aesthetically, whatever But effectively Have your you know have your vegetables before you have your dessert. That's the simplest way I can describe this, right? And so sit down take a unit. Don't try to do the whole block if you got to do 20 30 60 dudes, I don't know some forces have a lot of a lot of inventory Don't try to do all of those do five or ten Get that done then retreat yourself paint a single hero, right then go back do five or ten more Then do you know some small artillery piece or something whatever that the sense is that breaks it up in your world, right? And by alternating that back and forth You can find that it becomes a lot more fun and you suddenly get the to that full army Without really constantly feeling the paint the worst thing you can do is do all the centerpieces and the fun things first And then all you have stretching out before you for miles and miles is the long tail of the Unfun things and nothing will make you make you quick quit painting an army faster Alright tip number three Tip number three is a different workflow to what I just mentioned if that kind of project management isn't for you Then maybe the Sorbet method is for you. So the Sorbet method is a little different It's sort of a twist on what I just said Some people really like working on different things and they really value having a differentiation of experience So the idea of sitting down and painting only one army for an extended period of time is Pretty much anathema to them. That's okay. You can still get to a painted army The key to doing that is to always have that Sorbet on hand What I mean by that let's let is the following You start with a unit or something out of your army that you're painting could be some infantry It could be a hero could be anything again Don't paint the centerpieces first or don't paint the most fun things still save those for the end but Something else and then instead of going and painting a second unit an army do something else Find alternative projects that are very small that are very self-contained and Do those in between each unit? So for example, let's say you're working in 40k When you do your unit of space marines or something don't keep going in your space marine army instead stop paint up a kill team or do a piece of terrain or Paint a single hero for you know a display model or something if you're into that Whatever right but find a small self-contained alternative project and and terrain and that kind of thing really does work well for this And just insert those in those are your palette cleansers. They're fun They're different you can get sloppy and get messy you don't have to worry about staying in the same color palette You can change your paints. You can get crazy and that's fun Okay, so that's the sorbet method alternate between and again Not only will you then eventually get to the army, but you won't get bored doing so and you'll incidentally find You have a couple tables of painted terrain or multiple kill teams ready to go It's great and by doing so you're kind of tricking your brain Into having a good time by constantly providing a novel experience. All right Final tip tip number four Tip number four is the multi work stream Some people just work better when they have multiple projects They don't like to sit down and take one project completely from beginning to end in a single workflow and that's okay Instead your desk should have two and no more than two Only two two is the key Projects on it Those don't have to both be from the same army or the same force and in fact, I would often recommend They're not this is sort of a variation of the previous method But in this case instead of trying to do one thing to completion and then doing the other project Instead, maybe you've got a big piece of terrain on your desk and then you've got the unit you're working on When you sit down to paint your choices are limited to those two things That's it. Nothing else counts. No backlog. No nothing It is those two things and you will choose between them if while you're painting the unit if you sit down You start working on the unit for for the army and you get kind of bored You're like, you know, I don't feel like this cool. Stop set it to the side work on the other thing Switch over to the other item No big deal. All right the point is let yourself Work on the project that that actually Ignites your fire that gets your passion going at that moment All right, and by having those two projects once you finish one of them You replace it with a new second project Maybe it's another unit from that army if you did maybe put that piece of terrain away or onto your table And you get a new one out or you get out a kill team to the side or Maybe the second project is a box just a box a box of miniatures And your other project is build so if you sit down you look at those two things You're like don't feel like painting today instead I'm going to assemble scoot the painting stuff to the side and instead build and then once you have them built Maybe that becomes the other project you alternate between All right So every time you sit down you're not considering the vast universe of what you could paint and the Opportunity cost of not selecting those things you're limiting yourself to two projects But you're working on the one that at that moment really gets your engine going Okay, so there you go. There's my four tips for getting an army painted. I hope those really help I hope that you can give those a try and they bring you you know closer to getting that fully painted army on the table As always if you liked this give it a like subscribe for additional hobby cheating in the future If you've got questions drop those into the comments below. I always answer every question asked Don't forget if you want to take your next step on your hobby journey We have a patreon Focused on review and feedback and you could find that down below It also gets you access to an awesome discord community full of enthusiastic hobbyists. I Thank you so much for watching this one and as always We'll see you next time