Welcome back to another session in dentistry and more. Topic for today is mucosil or ranula. So mucous is an exclusive secretory product of the accessory minor salivary glands and the most prominent product of the sublingual gland. So it is the most prominent product of sublingual gland. So the mechanism for mucous cavity development is either extraversation or pretension. So these two mechanisms can result in mucous cavity development. So extraversation is nothing but the leakage of fluid from the decks or asinine into the surrounding tissue. That is extra means outside, the vasa means the vessel. So outside the vessel there will be leakage of fluid and it will be collected into the surrounding tissue. Whereas retention it is a narrowed ductile opening which cannot adequately accommodate the exit of saliva which is produced which leads to the ductile dilation and surface swelling. So which is a less common phenomena, this is the most common phenomena. So this happens when the ductile opening is narrow that cannot adequately accommodate the saliva. So what happens is it leads to ductile dilation and surface swelling. So mucosil which is exclusive of the irritation fibroma, so mucosil is irritation fibroma which are the most common type of benign soft tissue masses in the oral cavity, benign soft tissue mass which is irritation fibroma and as a benign soft tissue mass. So mucosil means mucous and the seal means a cavity. So when this mucosil occurs in the floor of the mouth which is known as ranula. So the mucosil in the floor of the mouth is known as ranula. So this mucosil which consists of a circumscribed cavity in the connected tissue and submucosa which producing an obvious elevation in the mucosa. So that is how it has got an elevation, a dome shaped elevation. So the majority of the mucosil results from an extraversation of fluid into the surrounding tissue after the traumatic break in the continuity of the ducts and it does not have a true epithelial lining. So there is no true epithelial lining for the mucosa, epithelial lining, I mean lining for the mucosil. So what is ranula? Okay ranula I told you the mucosil which is seen in the floor of the mouth. So this term used for the mucosils occur in the floor of the mouth. Why it has got that peculiar name? Because the word rana, because it resembles the swelling. This swelling resembles the translucent underbelly of the frog. As you can see the picture here, underbelly of frog. That is why it has got that peculiar name because this swelling resembles the translucent underbelly of the frog and it has got classification such as congenital or acquired and it is also be found in newborn infants. Ethiology as I told there will be an obstruction of one of the salivary glands and it is mostly a retention cyst and there will be spontaneous results after a surgery of the floor of the mouth especially in this submantibular duct area. So this extravasation cyst which can be arising from the gland of none or bluntin or also can be from submantibular gland which is also in that region. So initially there is a blockage of duct which causes retention cyst and with increased pressure there is rupture of SNI leading to extravasation cyst. So first is retention cyst that will be rupturing and it is becoming an extravasation cyst and it is a smooth cystic swelling under the tongue usually on one side and it presents as a blue dome shaped swelling in the floor of the mouth which is overlying the blood vessels. So they tend to be larger than mucosails and can fill the floor of the mouth completely and it can also elevate the tongue and it is if it is very larger it can affect both breathing and swallowing. So it has got a different variety that is plucking or cervical ranula, cervical ranula. So it occurs when the sphilt mucin dissects through the myelohydr muscle and produce swelling in the neck. So extravasation of mucos occurs behind the confines of the floor of the mouth through the myelohydr muscle into the upper neck or submental region. It is like soft cross-flecture and non-tender, dumbbell shaped swelling in submantibular region and it can be bi-digitally palpable. And it is quite difficult to distinguish from cystic hygroma but it can be easily picked up by MRI because hygroma has simple epithelial lining. Ranula contains very loose connected tissues. So treatment of ranula is excision with strict removal of any projecting peripheral salivary glands and always try to avoid injury to other glands during the primary wound closure. And we can also do simple aspiration or drainage but it will result in high recurrence. So both simple and plucking, ranula needs excision of the cyst wall and sublingual gland. There should be great care to preserve the lingual nerve. Sometimes this ranula, presending in neck may need cervical incision. So that is all about ranula, we are discussing about the mucosil and ranula. Mucosil is a dome shaped fluid filled cavity because of the rupture of the salivary glands minus salivary gland and ranula which is happening in the floor of the mouth and because of the peculiar shape it looks like a W frog, it has got this name ranula and the types and how it forms extracurrication and retention process finally the treatment part. So I will come up with a new topic in dentistry and more, thank you.


Hello to our show on Rocking Robots. These are Legos and we're going to talk today about how Legos have gone from this to something that moves and you can tell it what to do. And with me today are a teacher from St. Andrew's schools, Devi Shintaku, and two of her students and they will help to talk about how Legos have gone from this to robots. So welcome to the show. Thank you for having us. Thank you. Thanks. So I showed you this. Now when I was a kid this is what Legos were and we were so excited when you had roof tiles. I don't know if any of you remember these. And then it went to having wheels and we were even more excited when we had things like this beams and axles and gears and things that connect this way. Now this is I think what gives these new Legos so much ability to be built in different ways. So the Technix bricks are part of the Lego family and if you get the robot, the EV3 kit it comes with a bunch of these pieces.  So I'd like to invite the kids maybe Maya if you can start just tell us a little bit about what's in the box. Are there like connectors or beams you can stand up and okay no okay we'll set it down right there and you can point at it. In the box you have everything you need to build the robot and some of the other gears like axles and connectors and there's also stuff you may use like beams and some gears. Yeah okay what's this thing? These are the wheels for the robot and the Lego EVC brick. Cool and then can you tell our viewers what are these just in general. These are some of the motors and like sensors that you can use. Wow so there are all these different pieces that come with the kit. What's this thing? This is the battery. And I guess it goes with the charger okay I guess that one right. So those are the pieces Aiden would you like to tell us what that can be turned into? Don't move too far but here it can be turned into a robot of different variations. You can build it into different robots. This is one robot that we built. Wow so it doesn't always have to look like that? Yeah it doesn't always need to look like this. It can look like different things. It comes with some different models that you can put together but you can even make your own so you don't even have to stick with whatever they suggest. Yeah yeah so that's a big difference from this I think that was one thing we wanted to to talk about. So if you can have a have a seat again then we can talk about what this can do. So would you like to put there's a button on top Aiden sorry if you can go ahead and wake it up. So what does the red light mean? The red light means it's either turning on or turning off. Okay so I think if we can take a look at some of the graphics that were put together maybe slide number two next. So this is the kit and everything that it comes with all the motors, the sensors and and all of that and oh that's here do you want to show them the sensor? You want to tell them what some of these are? Okay so yeah we're just going to move this out of the way okay and I think the next graphic can talk about how. Okay there's. Tell them what this is. This is the driving base where like it's powered from. It's kind of the standard model that the basic model that you can put together. There are instructions that come with it and so you follow it it's very easy to follow and they put this they put these together themselves just by following the instructions. Okay so let me get this the pieces out of the way and we can go ahead and talk about what the programmers are interested in hearing. They hear robotics and they think wow there's there's something that moves right. So how do you make it move Maya? So on the robot it should have like a small rectangular shape screen and buttons on the side the top and bottom are for choosing the program going up and down and the two other arrows are for picking which like window you want to go to. Okay look at the slide that shows the programs on there I think the next slide Maya maybe you can explain what these blocks are. These blocks are like ones that will show what is happening and what it's going to do. They're command blocks so each of those blocks tells it to do something so what does the first block? The first block if you hover over it's called move steering and if you click on it under it it should have like off on degrees rotations or seconds and right now it's on rotations. So would you see this graphic on the EV3 or do you need a laptop computer to do this? You need a laptop. Oh okay so you have a bigger screen to work with okay that's that's good. I think if we go to the next slide it has the actual what the screen looks like so when you're programming Maya why don't you explain the screen. So on the top right is like somewhere where you can put all the like steps and the first one is your name and the date and the next two is moving forward through rotations and moving back through rotations. So what's a rotation? What's rotating? Rotating is when the wheel on the robot moves like one rotation one 360 degrees around. Aiden maybe you can show us on the wheels how you know it's gone around one time. There is little claw like things on the wheels and if it goes from pointing straight up and it goes around one turn that will be how you know it's gone about 360 degrees. Yeah so what's this other what's this other? This is the arm that it goes up and it cannot go 360 though because that would be going through the robot. Yeah that would not be a good idea. You want to run some of these maybe the move forward program that we just saw. Okay how far is it going to go? We don't want it to run off the table maybe we should go sideways. The move forward is going to go that one. Oh you said they don't want it moving maybe you should lift it up and then they can just watch the wheels move. This one? Yeah. Yeah it did exactly three rotations forward and back. You can show them the arm one also if you want. Maybe turn it sideways so they can see it go up and down. Oh I saw that. So we did that this morning and Maya noticed that it was going really fast up and down. So what was your what did we do after that? So before we put it at power 50% and after we did half so 25. So you can control the power the speed of the motor cool. So how many motors do you have on this robot if I hold it? Did Aiden answer that question? Sure. There are three motors two to power these two bigger wheels they're right here and here the bigger sections are right here and then there's one medium smaller motor I'm not sure if you can see it but it's right here. So is there a limit to how many motors you can put on that brick? I don't think so as long as you have enough motors and a place to attach it to hang it on there. So I notice each motor has something coming out of it this cable and it plugs into one of those. The brick. Those cables. Yeah they're cables connecting the motors to the brick and on the laptop some of them say like C and B for the moves steering and C and B are connected to these two wheels to like move it somewhere and A is connected to the medium motor. So I noticed when it went the program said move forward and back so you can make it go straight. Can it turn? Yes. Is that something you would program? Yes I think we have a slide for that. Oh hey. Oh we also have a program. Oh here it is. So slide six there we go. You want to explain that one Maya? Yeah this one is turning 50 percent to the right which is a 90 degree turn and it's going at 50 percent power so not too fast and one rotation. Okay so it would move about four inches. Do we have permission from the control room there to move for the robot to roll four inches? It's just going to turn to the right. Okay. And one wheel will stay. Oh move that I would get that stuff. Yeah there we go. Hey. Okay cool. So you guys programmed that? Yes we did. Yeah awesome. So when you have a chance to put the programs together on the laptop how do they get here to the actual robot? Oh Aiden. Aiden. Aiden is a long cord. Can you show it? Yeah. Alright cable. I think I saw it. The download cable. Yeah it plugs into a. One is a USB. USB C area whole thing right here. And then the other side is a USB. So it plugs into the robot and then this is a USB cable cord thing that plugs into a laptop. Yeah okay. So you program it and then you send the command. Send the command to the robot and it downloads very quickly. And then you unplug it and you can test your program. Cool. So do you want to show some of the other programs? We have some graphics. So this screen is what it looks like when you're on the computer. And oh tell them what's at the bottom of the screen on the left side Aiden. Maybe you can explain those little.  You tap on there the commands that you sent to the robot basically. And you click on them and drag them up to that triangle block. And then you can press on those numbers to program however far or whichever way you want your robot to go. Okay so a graphical way to do the programming. So you still have to figure out what the steps are and what each motor does. But you're telling it using this program. Now we're going to take a one minute break. So we'll be back. See you soon. And Aloha. And Aloha my name is Calvin Griffin the host of Hawaii in Uniform. And every Friday at 11 o'clock here on Think Tech Hawaii we bring in the latest in what's happening within the military community. And we also invite all your response to things that's happening here. Those of you who haven't seen the program before again we invite your participation. We're here to give information not disinformation and we always enjoy response from the public. But join us here Hawaii in Uniform Fridays 11 a.m. here on Think Tech Hawaii. Aloha. Hey Stan the energy man here on Think Tech Hawaii. And they won't let me do political commentary so I'm stuck doing energy stuff. But I really like energy stuff so I'm going to keep on doing it. Every Friday on Stan the energy man at lunchtime at noon on my lunch hour. We're going to talk about everything energy especially if it begins with the word hydrogen. We're going to definitely be talking about it. We'll talk about how we can make Hawaii cleaner. How we can make the world a better place.  Even Miss America can't even talk about stuff like that anymore. We got it nailed down here. So we'll see you on Friday at noon with Stan the energy man. Aloha. I am Howard Wigg. I am the proud host of Cold Green for Think Tech Hawaii. I appear every other Monday at three and I have really really exciting guests on the exciting topic of energy efficiency. Hope to see you there. Aloha. My name is Mark Shklav. I am the host of Think Tech Hawaii's Law Across the Sea. Law Across the Sea is on Think Tech Hawaii every other Monday at 11 a.m. Please join me where my guests talk about law topics and ideas and music and Hawaii Anna all across the sea from Hawaii and back again. Aloha. Welcome back to our Robots Rock Show with St. Andrew's Schools teacher Debbie Shintaku and two students Maya and Aiden. Thanks again guys for being here. So we've been talking about the EV3 robot which is built from Lego parts and programmed on a laptop computer. And after they figure out what they want the robot to do they connect it via a cable and the robot does it. So we've done forward and back we've done a little bit of a turn but it does it did a little more right. Yes there's another turn that they did the another slide that you could we could show go to the next one. And Maya can you explain what this one does. This one is a 180 turn to the left. And if you want it to go to the right you do not negative and to the left is negative. So where does the robot end up. Maybe Aiden can show us what 108 at 180 degree turn would be. So they're selecting which program to run and then they hit the start button. It turns half of a 360 spin. I'll run it again and it should turn about a full 360. And that's what a 180 turn looks like. Very good. So how about the next one. That went so well. Go ahead and show the next slide please. Maya you want to explain this one. This block is called a weight block and it will wait a few seconds depending on how long you want on one of these choices. And for us we chose just time. So there are a lot of other sensors you can have it wait till the ultrasonic sensor senses something a certain distance away. We haven't gotten into that yet but there's there are a lot of different choices there on waiting and have a loop and doing different things. So you can tell it to go somewhere wait a second. So if you push something really hard and it has to bounce before the next step you calculate that in and just have it sit there. Okay cool. So what else do you have on here. Let's see what was the next slide there. So go ahead and go to the next slide. Oh this is the move you asked about the arm this is the moving arm up and down so let's see maybe Maya can explain that. So this one is the media motor and it will just turn to the right or the left. But if you have another gear and put it perpendicular to it then it can make it turn up and down. So notice what is controlling it. You mentioned about the motors earlier about the ports to use which one do you use for the motor the media motor. You use port A. Aiden do you want to demonstrate that for us of where that is. Port A is right here it may be blocked by some cables or my hand. And you just need to make sure that what when you're writing the program what has to match. The ports the letters and it has to match on your program. If we look at that slide again and we look at that slide that it says on the top right corner there's letters. So this media motor the cable connects to here which is the motor and it connects to port A so. So will it work if your cable for the media motor with this program was in port D. No because then it would not do anything. Since nothing is in port D. Or port A you mean. Right port A as the program says port A you're right. Okay. Do we want to demonstrate that one again. Oh okay. The arm one. Okay the arm one yes. Oh okay. And then it waits two seconds and then it does it again just a bit slower. I think there was another slide on that that showed the actual. Oh this is what the program looks like. Wow so something it seems so simple actually has a lot of pieces to it. What are those blocks above the those little boxes above the blocks command blocks. What are they for. So those blocks above the program box are called common boxes. So like if someone else is looking over your work or you forgot what you're doing. It's already up there typed so you know what you are going to do and what those blocks are going to do. Cool. All right. So have we gone through the programs that you were ready to demonstrate today. Yes that's all that we have here today. So I wanted to ask a little bit about what you might be able to do with a robot that you can command. So something you can do with it is there's this first Lego league and there's like challenges that the robot needs to accomplish. And we're doing that this year. Cool. Do you know what the topic theme of the challenges are. I think it was into orbit for like problems in space. Yeah exactly. So I would like to congratulate you all for being part of a team this this year. It's your rookie year. The first year is always the hardest because you have to learn the programming. You have to learn the building putting all the pieces together. And then you have the project researching some topic. And this year it's into orbit. Yeah. So the project is researching a problem that they might encounter in space and either physical or social problem. So they've worked together and chosen a topic which by the way this is our first co-ed team that we've done or activity that we've done. So the boys and girls are working together. Usually they are separate in the schools at St. Andrews. There's the prep for the boys and the priority for the girls. But in this venture we are working together and learning to work as a team. Excellent. Yeah. So what do you have on the schedule for next week? Do you know what the. We have classes Monday, Tuesday, Wednesday, Thursday and sometimes Friday. You mean the team meets. Yeah. The team meetings. The four school and at lunch. Excellent. So I think we have only about a minute left. So before we end I just wanted to ask if there was one thing you wanted to leave with the audience. Maybe we can start with you. Well that robots, there's a lot that you can do with robots and the age that bringing it down to fourth grade and I think that's. I previously have taught students that were like some of their eighth grade and but doing the same types of things. It's really amazing how well they are learning as was just demonstrated today. Thanks. Maya? I just think that Lego robotics is fun and very interesting. Thank you. Hayden? I think that you should have fun when doing robotics. Okay. Yeah. I think that actually this adventure of coming to the studio and having green screen behind and then seeing what it looks like when it's finally produced is hopefully kind of fun. To add to your experience. Yes. And thank you for watching and for sharing with us this journey on robots rock. Thank you.


If you try and look me up on the internet, I will be found as Aneesha Salute. I probably have the most common North Indian first name, last name combination in the world. There are movies in which actresses are called there. So it was impossible for me to find my name on the internet. So that's how you can find an internet. I'm a part-time test designer. And while a lot of people don't think that's a really cool thing to do, for me it's not quite cool enough. And I like to think of myself as like a proper sort of nerd. People ask me often what I really do for a living and I don't quite do anything in particular. My life tends to be a series of side projects that I really are. So I thought there would be no better way to sort of introduce myself but to run you through a few things that I do. I run this sort of small archive of LED type faces that you find in public transit.  In Delhi, I work with 15 mobile of Dominic Desain, maybe some of you are third of her. And we run this thing called type of ventures where we build these large public lettering installations with volunteers and their only purpose is for the people of the city to sort of come and enjoy. There's no other point to that. I love books and I recently worked with this studio in Bangalore for Part 17 to make a book cataloging app for personal libraries because I had thousands of books and I could never keep track of that. I worked with a friend who's in the audience today to design a translator between Indian languages and play. I'm also working on a documentary film about opening title sequences in Indian cinema and on top of all of that, I have a food blog. So that's basically what I do. And apart from all these exciting things, in the last couple of years, I went and bought myself a master's degree and this was a degree in type face design at the University of Reading which is in the UK and I was super excited that a lot of people that we've been mentioning in his presentation were from Reading. So, you know, the Arabic Helvetica, Frutica, Univer, all done by Adam Nye of the University. Newman was done by Adam Nye. Ramanathan is from the University of Reading. So even though the University happens to be in England, there is a large amount of emphasis there on design in local scripts, especially scripts that come from India which was part of the reason why I went to study there. So after I finished my master's degree in type face design, I moved to the US and then I worked at Apple with the font team to basically work on the stuff that you see in a West End in the iOS. So when I was at Apple, I worked on projects which involved designing type faces for Devnatri, for Latin for Europe and Africa, for Russia, for Greece, for Thailand, I think so, like a large set of scripts. So that is what I do. The reason why I'm here is to talk about the typeface that I designed while I was at Reading and it's a typeface for Kanpur. Kanpur is a city in North India, it's where my parents are from, hence the name. And what I'm going to talk about is basically the challenges which lie in front of anyone who wants to design typefaces in Indian scripts and in general the challenges for Indian typography. And at the same time, because there are so many challenges, obviously there's a lot of opportunity to do some really interesting, exciting work. So I'm going to talk about why I designed a typeface which was live Kanpur because at Reading we get to decide our own piece, so I decided what I wanted to make and then I had to learn how to make it. So why did I decide to design something like that? And then I'll give you a sense of what goes into designing a typeface of this scale. So I found out that I was going to Reading in early 2011. Even before I went to Reading I knew I had to go and design a typeface there so I started thinking about what the typeface could be like. And I had a pretty simple sense of what I wanted to do. It had to be a typeface that did justice to its content. I mean all of you were seeing the Reading's presentation and he said that you know, you don't have typefaces for basic stuff. So if I wanted to read a textbook in Hindi, chances are it's going to be really badly designed. If I wanted to, I mean actually as a graphic designer, and I'm guessing some of you are, if you wanted to design a complex, brochure Indian object, what were you going to do? You don't know how to design it well at all because you unfortunately simply can't. So if you look at a lot of typefaces that exist for all Indian scripts, a lot of them look really, really heated. That's because they were mostly designed in the 60s and we've been repurposing them ever since. The second thing is that they are global.  So I'm saying the word kya, that is the half sound of ka and the full sound of ya.  And that happens for all Indian scripts, not just Indian. So a lot of them are just basically global. And then the last thing is that there are very few resources for good typefaces. I mean when we think of Latin typefaces, we think of something with a regular and an italic and a global, and a bold italic. And then a semi-bold and an italic with it and hopefully a light and then an ultra light and maybe a display and so on and so forth. So when you design something, you know, you actually have a good palette to begin with. That simply does not exist for Indian scripts. I mean, even at best you're probably going to have like four or five weights but you never quite have styles that you can use together. So I got to reading and I was told that I couldn't just say that I wanted to design a typeface and I was just used to this content. That wasn't sort of good enough for an academic setting. So I came up with a formula. So my dream was a Latin and Indian typeface family for bilingual dictionaries. Now, the idea was to somehow sneak in everything I wanted to do. So Latin is the script that we use for English, French, German, German, German, B, A, B, C. Indian typeface is what we use for Indian and Iraqi, in case. And when I said typeface family, I was very certain that I didn't want to design just one font. It had to be a large set of fonts that could all work together. Then it was a bilingual typeface, which meant that there were two scripts and two scripts that looked really different. So they had to be harmonized in a way that they worked really well together. And the last break was dictionaries, which gave me some sort of a brief and same, you know, dictionaries are always really small text and it's really dense. It's normally not printed very well. And that's a pretty complex type of profiling, actually. So that gave me the chance to make something which has a lot of styles and ways. So I started off with three problems that I wanted to solve. And so the first question I had to ask myself was, what would a devanagri look like? And one of the things that I wanted to do very strongly was not to start with a Latin, because that's what always happens, right? Also in a lot of examples, abbreviations. There are so many Latin typefaces. What most people end up doing is, there's a helvetica and it works really well. Let's make something that looks like that. As opposed to saying, I need a good, you know, I don't know, Arabic typeface and I will meet. English is so sort of spread everywhere that it's hard to sort of get out of that. Since I could, I chose to start from the devanagri and decide what that would look like and let that inform what the Latin must look like, because, you know, I can do that. So a lot of the answers for that came from the brief in terms of its functionality. For instance, it had to be legible in small sizes. So, you know, for something to be legible in small sizes, you have to ensure that all the white spaces in it are pretty large, because if they're not, they're just going to get clogged up and you're going to have just a lot of black ink. So, you know, the design had large counters. It had a lot of square shapes to make sure it was legible in small sizes. Then it had to be really sort of sturdy and robust, because, again, small sizes, bad printing, you don't want your letters to not get printed properly. So, you know, contrast between the thick parts and the thick parts of the letter was very less so that the thin parts don't just disappear in small sizes. Now, beyond these sort of functional choices, there were a lot of aesthetic choices, which basically led to it not looking dated. So, while I did not want it to look dated, I still wanted to sort of, you know, give a north to a really, really long calic graphic tradition that the type has. So, if you see the font, it has the correct pen angle based on color. So normally, I don't know, has anyone done any sort of English calligraphy ever? Yeah. So, if you've done that, it may not be the pen angle of the exact opposite.  I wanted to be respectful and use what they use in Dev Na'vi for like, I don't think there's none. The second thing I wanted to do was to have the fluid forms, because calligraphy, especially for the Dev Na'vi, can be, if you're doing it with the right pen, quite sort of strict and rigid. So, I have a lot of fluid forms, which might make it look a little bit more friendly. And then, I took that a step further to say that, you know, not have any sort of sharp terminals, have a lot of sort of round, soft shapes to make the typeface look more contemporary and more, you know, approachable in some ways. So, once I had a little bit of that done, the next question was, you know, now I don't have a Latin, and it has to sort of work with it. The one thing I really did not want to do was to sort of create some kind of kind of style monster. You know, like, excited for my letters, you know, or do something equally strange to the Latin. So, you know, if you don't do that, what do you do? The scripts look extremely, extremely different. The first thing I did was to match the metrics, by which I mean, if you put both the Latin and the Dev Na'vi in the same line, it doesn't look like one of them is visually larger than the other. Because if you've seen a lot of bilingual books in India, you can really use, like, Times New Lauren to set the English text.  So, I really did not want that to happen. So, the idea was to match them up in such a way that in a sentence, if they're used together, they have the same sort of presence on the page. The next thing was that because they're so different in shape, if... So, okay, so typographically, color doesn't mean red, blue or green.  So, when you're designing new scripts that are this different, when they're used together, you want both of them to look like thank you there, right? You don't want one to be so much darker than the other. The Latin looks like a regular, but the Dev Na'vi sort of looks like a whole. Because in that whole, because Dev Na'vi has a horizontal line on top of every single letter, if you keep the stem width the same, Dev Na'vi looks really, really dark. So, you have to do some sort of adjustment to make sure that both scripts have the same color on the page. The next thing was to put the features wherever you could put them and not force it too much. So, the inner counters of letters in both scripts have corners. That's the kind of feature that both scripts can have without it feeling like it's been forced down its throat. So, with this I got a sense of what the typeface would be visual. But, that was a bigger question of, you know, is the typeface workable? Can people actually type up a text and get what they want from it? So, that's this really magical thing called total type, which is a little bit of programming that typeface design is to which I'm guessing that girls people know of. The simplest example of this typef and I, most fonts will convert it into an FI literature. So, that's the little dot on top of the I, doesn't go clashing with the thing coming down on the F. And, most typefaces do this and most of us don't notice. And, that's the way it's supposed to be. The idea is that no one notices things like that. So, for something like English, the things it does are usually pretty ornamental. You know, if there was no literature, you'd still be able to read FNI. It might not look as pretty. But, for Indian scripts, because they are complex, and they usually have the whole system of having a consonant and then vowels attaching to it, without open type, who basically can't write anything.  And, if it wasn't for open type, you would basically just get the first part of that equation without the plus signs. Which is not what you want. You basically want all the rearrangement, all the correct shapes to, you know, magically end up on your screen. So, that is done using open type. And, the typeset design actually has an extensive amount of open type to make things work. So, for instance, if you have the curve, and the thing after that is the e-mathra, and that's the standard e-mathra, except curve is a wider letter. So, using open type, I can ensure that it gets replaced by e-mathra, which looks perfect for that letter. Similarly, the letter herb, with the oomathra at the bottom, it basically doesn't look like it's in the center, and sort of looks like it's clashing. So, I can use open type to replace that combination with the ligature, which makes it perfect. To make a typeface which works with open type, you usually require between 600 to 800 tubes per bit. So, the regular will have these many, and then multiply that with whatever else you decide to draw. So, that's an approximate set you have. Like, a font like Adobe Divinati, which is probably one of the more extensive fonts, probably has about 1200 tubes. Because it supports, you know, all sorts of obscures on screen fonts, which most fonts do. So, there are a lot of indian type foundry stuff that we've shown us, probably has around 600, 650 tubes per font. What's a globe? What's a globe? So, the curve was a globe. The e-mathra was a globe. The food stop was a globe. So, every character that you see in a font is basically called a globe. The e-mathra is one letter, but it might need several alternates. So, they're all called cliffs. So, there will be an e1 which is a cliff. An e2 should be another cliff. An e3 should be another cliff. So, yes. So, even though Divinati has a basic character set of about 50 to 60 letters, to make all the combinations work properly, you design something which is also set up. Pooja, can you speak into the mic? Should I? Just turn it towards. So, yes. Around 600 to 800 lips per weight. But then there's more stuff that you can do with open text which can make the typeface work even better. So, which was things like the font having two kinds of grotesque books. One which works really well when you're writing in English text. One which works really well when you're writing in Devanathri text. I mean, these things offer all purposes just niceties. The thing is that you know, it's my language that I'm writing in. I would want it to be nice. You know, it's the little things which we don't notice in Latin typography and because they're missing in Indian script they sort of stand out. Then things like, so full vowel letters in Indian languages basically don't get used in the middle of words. They're always used in the beginning of a word. So a lot of them have very flourishing shapes. If you look at the first one, it has this sort of tall white thing going in front but we use a lot of English in our Indian languages. So the moment you translate English words in Hindi, you have a lot of vowels which need to come in. For instance, I had a teacher and her name was Fiona. I have to write Fiona in Hindi. The vowel O will be in the middle of a word. So the font has alternates that can be used inside translated words which make the text look better. Then things like tagular numbers. Most English fonts are going to come with multiple sets of numbers and one of these is going to be a set where the widths of all the numbers are same. So if you are setting an annual report you know all your numbers will always line up. But no one does that for Indian fonts. I mean who gets. So the idea was to have all those nice things even for Indian fonts. If someone wants an annual report in Hindi they can actually have a proper table. Then no number styles. What if you wanted to do signage with it or you wanted to use it in a text book. Arrows which match the number styles which was extremely useful in something like dictionary. So with this I basically had one rate of the Dev Nagri with a lot of nice things going for it. But the trouble was it was just one weight and I had started off with believing there was going to be more. So the first thing that happened was to add widths. So it currently has a regular semi-bold and a bold with the possibility of having stuff in the middle if it needs to. Then there was an attempt to make something which was like a sans-serif except there are no serifs to chop off. So it was basically a version which was not as soft and friendly as tourism. But something with more sharp edges something with slightly less contrast. And then that got a bold and the bold in that had even more exaggerated features. So this would be the kind of thing that you would use for a magazine headline and then you would use a regular to set your text and maybe you could use the semi-bold for your quote and you could use the sans-serif regular for your captions and actually have enough going around that you can design a tool document with it. This was probably the most exciting part of the project for me which was saying what if we could have a day of night in the attic? Like what would that really look like? And that's the solution which is slant the letters squish the monthly. But if you study design you're told quite strictly never to do that with a font. Like never, ever to do that with a font. So if I don't do that, how would I make a day of night be italic? It clearly has absolutely no tradition for one. So it's not like I can go back, look at some manuscript from 300 years ago and go like there. I'm going to talk about that. No, but not people write like that. Precisely. So the idea was to learn from handwriting because even the italic that we see in English basically developed from a fast writing style. That is why it became narrower and you go home and write yourself. You realize if you are writing faster your handwriting becomes narrow. When you're writing fast it automatically slants. It's not like the italics came out of nowhere. So the idea was to look at a lot of people's handwriting and see what makes handwriting different from conscious writing and try and get those features into this weight which I could call the day of night be italic. So there were basically three features. One, you're writing fast. And because you're writing fast you're not lifting your pen as many times. So when people make the bar on their keys when they're writing, they usually just put this one floating bar at the end of the word. Or one single bar will basically be used for all the T's in that word. People don't lift their pens. The same thing happens in English. People don't lift their pens. And then because they're not lifting their pens they're going to retrace shapes. So if you draw a B and then you retrace the stem and then you make the rest of the B. I have a foreign word in my text and I want to make sure it looks like it's not a Hindi word. I mean the same reason as Latin, right? Because texts are complex and you mean different kinds of styles to be able to differentiate between them. The way you write is quite native, right? I mean slanting it is not native but I'll handle it. It isn't but the fact is that because of the fact that so many people came to our country and said to stay here for so long our texts are now really complex and it would be nice to think that we can use just one style to set our texts like, you know, there are books in Hindi and they need bibliographies. And if you look at an English book there's a pretty standard way of how you set a bibliography. You know, you put the last name of the author in small caps you would put the name of the publication in italics and so on so that when someone is looking at a bibliography they can quickly tell what is the book name. What do people do when there's a bibliography? They basically don't know what to do. They just put everything in the regular which only makes it harder for someone to read. Or, you know, if you look at things like recipe books for instance if you look at a good recipe book in English you will see so many different styles being used to show, you know nice sort of tables which will tell you ingredients and measurements big type for the title if there's a sauce whose name is originally French it could be set in italics what do you do if you have to set something in Hindi? You basically take your one word and sort of type everything out and hope you don't make any spelling errors. So I mean the idea is to make like I said in the beginning something that justifies content the fact is that our content is not the same as it used to be. So yeah, faster speed fewer pen lifts and retracing shapes and that is what it ended up looking like. So wherever possible the pen was not repeated so if you were going to make a double more which is the first character you see I did it exactly like someone would like it by hand just do the whole thing in one go you know attaching vowel signs to characters when you're writing you normally don't pick up your pen and then go back and add it you just do it in a single stroke so this basically became I didn't call it an italic in the end because it's not from Italian and that would have been a little missing form so it's basically a cursive because that's what hand writing is so yeah, so this was the form and I can probably show you some examples of it in use in for instance, additionally I have a question is there a possibility when you're trying to write this in italics that because of similarities different scripts in India one script might look similar to the other and get them used I'm guessing see, Devnabhi looks sort of like Gujarati but Gujarati doesn't have a headline so I suppose that's quite simple once you don't have a headline it'll look quite different it sort of also looks like Gurmukhi but Gurmukhi doesn't have a calligraphic tradition so it's always monolingual so this is basically but I'm sure there could be a cursive for pretty much any script because the way we see things written on let's say a sign board is very different from how we would write a note to someone we write them fast and it's usually sort of legible which is what handwriting is and the idea of making a cursive typeface would be to pick out features which can be repeated enough that it remains legible because you won't want a typeface to be legible I have another question if the cursive phase which have developed how is it the same family as the other typeface you'd have looked I don't know I can give you examples of other say if you look at these two you'll notice that their skeleton and metrics are the same so in that sense if they are used together they will have an inherent sense of similarity between them I think with the ways it's quite simple I mean it is really the same shape becoming pattern even if you look at the cursive you'll see features which are repeated for instance the little corner in the inner counter of the curve which is the second character that you see I mean the idea of a typeface family needs to have things which kind of look similar so if you look at Georgia and Georgia Italic they're not identical in any way or sort you just have some features which lend them a sense of familiarity to each other that's about it but yeah I mean whether or not a divanagdi cursive fits with it is a question I've been asking myself and I'd love to hear what everyone thinks about it as well so yeah this is it in the dictionary I think the one on the left is a divanagdi but uniquely the one on the right is by English words then you know you can use them together sort of since the cursive doesn't really have a tradition you could use it as a display there's no one to really stop you from doing that so the idea was that if there are so many styles and if they aren't given up to crappy designers who knows how they would use them they might use something in a way that I wouldn't expect so if you look at the little text on the right which if someone needs divanagdi it's tomato, tomato, potato, potato actually puts those tomato and potato in the cursive like you would put foreign words in italics on the one on the left it just uses it for heading because it looks different like this I particularly like especially the thing on the left which is a train time table so this was like a chance to actually use the divanagdi numbers in a good tabular format also to use you know numbers with different styles to be able to differentiate train numbers having sort of these resources would make this document so much easier to parse than just having one style in which you would use it you actually developed a tabular structure for your cursive numbers how I mean it just has to be the same width some letters would be narrow I mean even in a case you see here, a letter on the bottom I mean by design it's a slightly wider letter and you know you just want to squish it a little that's really not the word it's like how you write math in the square grid things wider numbers have to be squished the one sort of looks lonely in the box that's just the word it is the funny thing I had to do when designing panels was that the numbers were preferred in the question I mean I actually have a set of Latin numbers which correspond to the right size I wouldn't have to use the aerial type which is the problem I was trying to solve thank you so I design most of this using something called font wrap there's also there's something called font forge which is open source and free so I suppose if you want to give things a shot there's also a new application called glyphs which has been designed by this German gentleman called Ikea and he actually has two versions that is a basic version which is probably like 50 euros so it's extremely sort of purchaseable even for us in the third world countries because font lab is quite expensive it's about 900 dollars so how do you do you make it an illustrator important? all of these are basically vector based I mean these are all vectors so the only thing something like font lab glyphs or font forge what we let you do is make and then do things like you know what's it called an illustrator clipping mask it let you do things like clipping mask it may come from past but that's all you can do enough what are options we have given for tracking between the letters do you have any special option for providing tracking what are the letters of first space with the hope that a majority of them will work well and then there's cunning pairs to make sure certain pairs work better the heavier weights will always have tighter spacing because the white spaces inside them are really small so the spaces between them tend to be small the light ones will have more spacing I'm not sure what you mean by like more tracking options one question while designing type spaces in general especially when it comes to italics and cursive writing when you are designing for cursive a letter has a beginning and a letter has an ending so in cursive ideally the beginning and the ending of two letters should join so is this the place where these many letters come into picture a lot of times they do because you know to give an example of Latin it's possible that when you are making a cursive R it joins in a certain way with letters like A, Q and D because they all have the clamping area but it might have to join differently with an I so then you will need three kinds of R so you will write some open type to say that every time an R comes before an I put this one if it comes before an S go fetch the other one so you have to define all these combinations draw them and then define them in code to say which one comes before and after which one so this was the first part how long did it take? well it's not finished I started in November of 2011 and I had to make my university submission in June 1st 2012 but it's far from finished if I had to finish it and sell it it would probably require about each to nine months of my time all day, every day no fun side projects so what else are you going to build into this? what else are you going to build into it? at this point hopefully add a few more weights add all sorts of regional variants based on preferences of people so like there are certain letters which the Marathi people liked on a certain way but the people who speak Hindi like them another way and the people who speak Nepali like them another way so it will not be just adding those letters but adding all those alternates for those letters as well so hopefully that and I really want to have which matches with the Latin and the Vietnam team that's probably never going to happen too much work so can you I'm just hypothetically speaking, can you make a font design open source? yes, this is set in an open source design, it's a source and it's pro right, so you're saying it takes so much time for you to make this font can you get someone else to do bits and pieces of it? it happens very often in large font projects so if you have you know have you guys on the internet seen the Typeface Scholar how do you spell it? S-K-O-L-A-R Scholar I mean it's everywhere on the world so Scholar also started as something someone made at ready so when the Typeface got released he basically only released the Latin portion then he got in touch with someone who was really good at Greek and they drew the basic Greek and then he hired a couple of more people who finished the Greek by drawing the golden and then he hired someone for the Cyrillic and then someone else made the Beirut Agri and then someone else made the Gujarati so yeah, a lot of times there's more than one person who ends up at least finishing the Typeface because I suppose it would take maybe one or maybe two people to come up with the core concept of the Typeface but then after that the editions are often made better One of my frequent interactions with fontists when choosing the font in Word or such documents so how do such fonts get chosen? Who decides okay, these are the fonts that are being built there So Microsoft actually commissioned a set of fonts many years ago by this gentleman called Matthew Carter he's the tour who's designed the rest they basically buy off people so either you commission it or you sort of buy it so for instance in the iPad in the new iBook for instance you can choose a bunch of fonts writing which you can do the books there's like probably four or five options so none of them is a font that Apple commissioned they were existing fonts that people had made and were selling and Apple rented them a bottle license they were mostly their license designs so yeah, you could design a Typeface they could like it and then it would be on Word and you'd probably use a lot of money I mean, what is the process do the book for no usage or good design or anything I was asking what is the criteria for your font to get selected and such no but if I tell you I'd kill you and I'm not killing you more like Apple would come and kill both of us we have to talk about that it's basically what fonts are more available like initial version of windows basically they go out and they look at stuff which they think would be useful so if you look at Microsoft you see they have a whole bunch of fonts there's formal fonts which you might use for a document there is some fonts which look like you might use on a wedding invitation there's other fonts which look like you would use on your daughter's birthday party they basically think of basic users user would have and then try and put something which might be useful also I think I don't like that I don't know who uses them anymore there was famous comic sans which also by the way designed by an alumna of university of pen so I have a question so when designing these fonts do you keep in mind where they're going to be read because for example you have to design something for an iPad and design something for a desktop or for a holding yeah you would think differently so do you have to customize your fonts to each of these devices or final mediums I don't know how many of you use InDesign F is called Minion Flow it didn't design for about a dozen sizes and you don't even know it just replaces it so if you're typing in Minion Flow it looks different from if you're typing in Minion Flow the font has been designed for all those sizes separately bundled into this one and it will secretly change it and you never realize it it's a lot like I can design right? exactly it's a lot like I can design precisely it all depends on what scale you have to use it in so when you design this I did not do any kind of magic that do you have to design separate glyphs for clear light or non-clear light now all of this goes on top of this you can choose to paint it separately but it all happens on the same outline so if you're designing specifically for this screen and for a particular painting environment you might choose certain shapes over others because they fit better so your font design itself might change a little the reason why Georgia looks very good is because Matthew Carter was told this is the screen people are going to look at it on so go figure so he made sure it looks good better on Microsoft machines than on OS hand prints because it was designed with that in mind what are the opportunities for the Indian types that develop in terms of they being adopted or first I should finish it and then yeah there's the Indian type of font there is a font we call Rosetta which does a lot of world scripts and Rosetta Rosetta is in the Rosetta store R-O-S-E they have fonts in a lot of scripts they also have English scripts but are people buying it because it takes a lot of time unfortunately yeah a lot of people too like I used to get some work for R-O-S-E who wanted to localize their title I think it's something quite main actually more fun more to other words I can't remember what it was more taste, more fun and one more thing which was more and they basically wanted that first translated in English someone did that but then they needed a font which matched the font in which they put the tagline in English much like the IKEA thing and so you know that needed to be developed so that sort of stuff happens all the time mostly because of business because when they come to countries like ours in Vodafone for instance when they came they had to commission type cases in all major Indian languages silly question but we have localized newspapers all over the country they all used to say you know the fonts I mentioned were developed in the 60s they're using just the 5 year old fonts basically yeah because they also have a very strict production system and a lot of those production systems are not even calibrated to accept so they basically use the line-up type machines I don't know if you've heard of that these would be awesome free machines so yeah they just use the fonts that they would be used to so I mean new stuff happens but it's slow they're like 90% market share something like that it's actually a really good movie which might be worth seeing among others they have a really nice our long documentary about what is the name? what is the name? we're currently building a mobile application and going through this exercise making a color which basically represents certain attributes and therefore it kind of syncs up with the whole user experience I'm assuming there must be a similar exercise with fonts could you point me to so we don't have any resident experts on this front but is there any way to pick out a certain font given the context of our application and what the problems we are trying to solve so the problem is actually that's how we're doing it now all our gut feeling that this looks good and I think this will achieve our business objective so our approach to design is that we are trying to solve very specific business problems in the mobile phone context and things of that nature so color is simpler to the extent that there is enough information just because colors have very particular meanings in very particular context and the movement that context changes even a little bit the meaning of the color becomes red, bright might wear red in some parts of the country but at the same time red is violence and our brains are very sensitive about reading color based on what situation we are in so when you see a bright and red you don't get scared of it but if you see red on a sign board you get scared, when you walk into McDonald's which is all red you don't think of it as either a bright or something dangerous it's all quite valuable in the context of we will take a quick 10 minutes break and then we will come back and do the jam on that board thanks a lot


Hello everyone, myself, M.A. Mahant, working in computer science and engineering department as an assistant professor in Vulture Institute of Technology, S.O.L.A.P. Today we are going to discuss the topic software engineering challenges and approach. Learning outcomes are, at the end of this session, students will be able to describe the problem domain in software engineering and describe software engineering challenges and approach. First, we are going to see the definition of software engineering. Software engineering is a systematic approach of developing the software. It is a set of phases or activities. The end product is developed software. So, the importance of software engineering. Software engineering plays an important role in education, commercial organization, research, social media, military and government organization. Mainly, softwares can be classified into two types, application software and system software. See, actually, in software engineering, there are a number of phases, such as required analysis specification, first phase, designing is the second phase, coding is the third phase, testing is the fourth phase, and maintenance and operational is the fifth phase of software engineering. So, the application software is nothing but the software which is used in the commercial organization that is called the application software. For example, Microsoft Visual Basic, VB.NET, these are the examples of application software and the system software. System software is nothing but the software which can be used to develop another software that is called the system software. For example, C++, VC++, Java, these are all the system software. There are some problem domains which arise in software engineering. There are a number of problems in problem domain of software engineering. The first is comparison of student software and industry strength of software. For student software, no need of scheduling, costing and documentation. So, effort estimation is not required. See, the problem statement is given to the student and student is solving that problem statement by using some programming languages. So, there is no need of any scheduling, costing or documentation, also effort estimation. So, there is no need of quality factors such as reliability, portability, efficiency, maintainability and usability in student-led software. But these all things are needed for industrial strength of software. So, for the industrial strength of software, the scheduling, costing, documentation and all quality factors such as reliability, portability, efficiency and maintainability and usability is required. So, this is used in business routine to solve the problems of clients and used by clients of that organization. The second problem domain is software is expensive. See, software development is labor intensive. So, productivity means total number of lines of code developed for that specific software product. So, $20 per thousand lines of codes per month. Now, software cost is 80% and hardware cost is 20%. So, consider all these things for the software is expensive. So, this is the labor intensive job and considering the cost of hardware and software, this software is more expensive. The third problem domain is deployment of software is late and reliable. See, after development of software, it is deployed to the client. But for some projects are running out of schedule and cost. Due to some reason, the delivery is late such as inaccuracy and problem in software, due to failure of electrical and mechanical systems, due to bugs and errors occurred in design and development phase, due to lack of physical and skillful human resources. So, there is so many reasons that the delure of software gets failure, due to the lack of non-skillful human resources or due to hardware failure, software failure, or due to bugs and errors in the software. Then, for next problem domain is maintenance and reworks. After the development of software, it is deployed to the client. If client faces any problems or errors while operating that software, then developer bring that software in their office and repair the software by removing bugs and errors. This is called regression testing and rework can be done. Again, repaired software deployed to the clients, maintenance take 30 to 40% efforts and cost that development cost of that software. So, in maintenance rework, the problem which arises at the client side, they are repaired at the development office and that errors are removed and bugs are removed by a big modification that software. So, the rework can be done here. So, this is also one part of the problem domain that is maintenance and reworks. There are two types of maintenance, are corrective maintenance, adaptive maintenance. The corrective, the errors from the software is called corrective maintenance. We are removing the error from the program that is called as the corrective errors. And removing the errors or convenience of the software in the latest version or modification or upgrading the software to adaptive maintenance. So, in adaptive maintenance, we are updating the software. At that time, some testing can be done. That is, some maintenance can be done by converting the software to the latest in latest version or some modification can be done that is called as the adaptive maintenance. So, there are two types of maintenance, corrective maintenance, adaptive maintenance. So, commonly, removing the error from the program is called corrective maintenance. And the adaptive maintenance means a conversion of software into the latest version. The next part is the software engineering challenges. The first part, satisfy all the needs of a requirement from the developed software. So, this is one of the challenge. Means, whatever the requirements you have specified in SRS, it means software required specific in document, which is the output of first phase. That is, required analysis and specification. So, when you are developing your software, you have to see that all the requirements of the customer are satisfied by that software. You are converting all the customer requirement into the automation. So, this is one of the challenge that you have to satisfy all the customer requirements by using that software. So, the second software challenge is scale. Scale means as the size of the project increases, then we are moving from some informal method of development to formal method of development. So, more resources, methods, tools, and techniques, and management activity are required for software development. See, scaling means what, as the size of the project goes on increasing. Definitely, you are moving from informal to formal method of development. So, more number of resources, methods, tools, techniques are required for developing that software. The scaling is one of the softening challenges. The next is quality and productivity. If quality of the software is high, then productivity of that software is high. Cost, schedule, and quality are important factors in software development. Productivity means development of thousand lines of code per person, per month for that software. So, maintaining quality and productivity is one of the softening challenge. The quality attributes can be defined as the functionality, means the capability to provide functions which meets stated implied needs when the software is used. Second quality attribute is reliability, means failure-free operation of that software, the capability to maintain the special level of performance. Third quality attribute is usability, the capability to understood, learned, and used. The next softening challenge is consistency and repeatability. So, high quality software being developed with high productivity, poor quality software being developed with poor productivity. It is a challenge in the software in the ring. How to ensure that successful results can be repeated? And there can be some degree of consistency in quality and productivity. Deferring quality and productivity for different projects is an issue. So, maintaining consistency and the repeatability is one of the software in the ring challenges. So, providing consistency in quality, productivity, improving in their processes, techniques, tools, and methods use some frameworks for software development such as ISO 9001 and CMM Capability Maturity Model used by an organization. So, some frameworks are available for providing quality to that software, that is ISO 9001 and Capability Maturity Model which consists of different quality criteria and quality attributes. By using this, we are maintaining the quality to that software. The next challenge is changes. Changes in the business rapid. So, software will not be rigid. It accepts all the changes. It accepts modification. Number of changes in software. It accommodates all the changes and solves few problems. That the changes are resistant. Software is ready to accept any modification after development. So, changes due to business requirements or changes due to some modifications at the client side, changes due to some requirement of the programs or some change in the requirements. So, the changes can be made in the software. So, that is one of the software challenge. Now, I am going to ask one question to all the students. You have to answer that question. Dash means total number of lines, of course, developed for that specific software product. Option A, productivity, option B, portability, option C, efficiency, option D, reliability. Choose any one of the option from the given options. Pause the video and write the answer. The answer is productivity. So, productivity means total number of lines, of course, developed for that specific software product. The next part is the eye and triangle. See, for maintaining the quality and productivity, you have to provide some technology, some processes, and some people who are working that organization. So, in software development, what they are saying that you have to always use the recent technology, the recent software, hardware for developing that software. These are the references. Thank you.


So, you're poor, and you're not just poor, you're dirt broke, and you can't afford those beautiful, mathematically perfect, luxury texture maps on Blender Guru's site. Not a problem. In the next 15 seconds, you are gonna learn how to make beautiful, seamless texture patterns out of any image on your phone absolutely free. Alright, let's do this.  Then drag that picture into the GIMP, go to filters, map, tile seamless, okay, you're done. Your texture map can now be repeated over and over to your heart's content. And if you join me next video, I'll show you how we can get the proper diffuse, bump, normal, and specular maps out of the image we took. Hope that helps. Thank you so much for watching. If you enjoyed this video, please don't forget to like and subscribe. Hope you have a fantastic day, and I'll see you around. Bye. Bye.


ESSET is a program of research, capacity development and policy influencing that essentially addresses the inclusive growth and economic transformation challenges of South Africa. What's distinctive about this program is it's co-created and co-implemented by UNIWIDER, the National Treasury in South Africa, and many other developing partners. The program seeks to improve the interface between research and policy by fostering partnerships between experienced academics and government policies specialists. Too often research on the South African economy is focused on diagnosing the problems, but stop the thought of giving policymakers like myself practical suggestions. It is this that ESSETAID is suited with. Phase two of the ESSETAID project differs a lot from phase one in a couple of aspects. So we are bringing in different work streams. We have drop sum, we are adding the reform implementation work stream. We are also adding in some partners, so we have additional funders that found value in the program. And broadly, we are hoping that the interface between policymaking and collaborative spaces between the work streams could actually be strengthened. I think that for us, it's quite important that phase two also enhances the skills and capacity, not only of policymakers, which is almost a first thought and idea. But I think our young academics can learn quite a lot from the international academia and specifically the mentorship that we have put in place from the academic leads in the work streams. And hopefully that synergy will create a pipeline of future policymakers that believe in evidence-based. One of the things that makes me very excited to participate in phase two of ESSETAID is that evidence-based policymaking could not be more relevant in this space, particularly given how long-standing poverty, inequality and unemployment challenges have been in the country. It presents a very unique opportunity because not addressing these socioeconomic challenges has long-term impacts, not just for long-term economic growth in South Africa, but essentially the fabric of South African society and the gains that South Africa has made post-democracy. There was a lot of really interesting work done in phase one, and so some of the lessons come from sort of deepening that interesting work. There was a lot of interesting work around the tax administrative data. And so with phase two, I think the hope is to deepen that work, to perhaps bring in some other data, and then to strengthen the collaborations across the first three work streams in particular, but across all of them in working with that data and so in developing this cross-cutting data stream. The program will build on the past success of innovative approaches. It will expand the infrastructure for administrative data and build research capabilities around the use of data to explore topics. I've been involved in SA Tide for a number of years, and I can see the value that the program has for the research community. There's very few economic data labs in the country, and there's very few that make administrative data available. And so I think there's a huge public good that the SA Tide program brings, and that's why I stay involved. What really excites me about the program as a policymaker is being able to see your written work find actual expression and move it all the way through its implementation, which isn't very common across government. So it's been really wonderful to be able to partner with the people that we've been able to access through SA Tide to make sure that this work actually gets going. SA Tide phase two is very valuable for us as policymakers. You know, this really is trying to create that bridge between academia and policy. A lot of the work that goes into these research articles is directly beneficial for us as policymakers. I've always thought to make my work useful, but this project is designed to actually work with people in government who are working extremely hard to implement policies that make lives better for South Africans. And we do research together and we build capacity together. We learn lots from them, they learn lots from us, and we try and design policies that are realistic to the policy milieu but also are in line with what South Africa looks like. That's an incredible privilege to do that. I think that the program has been incredibly successful from phase one and that's a very compelling reason to do something again, right? If it works. So I think phase one was very important in a number of aspects. One, we were able to produce really timely, really important research that informed how we think about certain policy questions. Some critical outputs in that regard are things like fiscal multipliers and a lot of very interesting research came out in that regard. And that was very important and quite topical in the context of the macro-fiscal debate. So that's one reason. The second is the kind of capacity building we were able to do in a relatively short amount of time, which I think is incredibly important for the way that institutions function and how they're able to sustain themselves. Creating knowledge, sharing knowledge, and strengthening knowledge are very much our mandate or mission. An essay type absolutely reflects that. And that's why it has a lot of value for me as a director, if you're any wider, that we're doing something exactly on our mission, but on the ground in South Africa. We achieved a lot in phase one, which means that we set a high, very high bar to meet in phase two. Economic reforms as set out in South Africa's economic reconstruction recovery plan are a crucial way to deliver that inclusive economic growth for all citizens here in South Africa. And I strongly believe that this next phase of the program can be a part of making those ambitions a reality.


Airbus is assigned to Submarine Expeditionary Maintenance Unit Detachment Romeo and Groton are supporting their active-duty counterparts one stitch at a time. During every scheduled drill weekend for most of last year, the reserve unit has sewed curtains for the Groton-based submarines that call Groton home. Logistics specialist third class, Jarrett Hornbeek, discusses his pride in supporting the fleet. It makes a big difference. Knowing that somebody out there is going to have a nice set of curtains with Velcro and that's a good feeling. In nearly a year's time, the unit has completed 200 curtains and will be hard at work to complete another 200 curtains this year. For Commander Submarine Group II Public Affairs, I'm Petty Officer Jason Perry.


Well, this week the spotlight has most definitely been on the presentation of Budded 2016. The finance minister, Arun Jaitley, reiterating a series of policy initiatives and schemes that aim at easing all the hurdles around startups. And this is definitely a very promising move considering a lot of startup watchers and investors have been pointing out this desperate need for funding within the country's fastest growing startups. And when we look at the total funds that are given to startups right now, a large chunk of course offered the money coming in is going towards marketing and advertising, whether it's digital, outdoor or television advertisements, startups in India are pushing the envelope when it comes to creating a brand identity for themselves. We're taking a look at what has been achieved so far and what the road ahead is looking like. In a list of 189 countries compiled by the World Bank, India ranks at 155 in terms of ease of starting a business. And it's not surprising as a startup ecosystem has come a long way in the country, especially in the last decade or so. Flipkart, Snapdeal, Zomato, Inmobi to name just a few. Earlier this year, the government launched a startup India program giving incentives and relaxing compliance requirements for startup companies. Three weeks into 2016, the government announced a 10,000 crore fund for innovation-driven enterprises. Clearly, there seems to be enough opportunities to accommodate multiple players in the startup scene. You know, one of the things clearly that's visible today is there are a lot more entrepreneurs and that's great. And you know, you have this positive spiral that is in the country, which can bring the country and take the country to a next level altogether, which I think is amazing. I think the quality of entrepreneurs has also really gone up. They're really, really smart, sharp entrepreneurs. I think the caution in all of this is entrepreneurship is not a fashion. It seems to possibly even get to that level where it's become a fashionable entity and people should be really, it's a very serious and a hard thing to do. So people should be aware of that. My only hope is that entrepreneurs remain crazy because that's the only way to change things in the world and you know, we've tried to remain crazy as much as possible.  But you know, it's okay because entrepreneurship is about that. When it comes to creating a brand identity, startups are leveraging through smart strategies, spending a huge chunk of money on marketing. Zomato, for instance, spent 1.2 crores on its television campaign last December. The company also relies on content marketing in various forms like infographics, videos and campaigns that attract consumers. Mobile commerce platform, ATM, set aside 500 crores on branding and marketing last year for both online and offline brand development. In fact, last year, they struck a 203.28 crore title sponsorship deal with BCCI till 2019. Being in India, we have to target the youth and I believe for youth there is nothing better brand than an aspirational brand. We don't want to be cool, funky young brand. We want to be aspirational brand where youth wants to be. To do that, we sort of put our brand values on sincerity, aspiration, perseverance. And I think those all come when you talk about sports. If you see wallet works well, you can add cash to it. And right now we were primarily online. Now we are adding like a million points where you could add wallet cash to the wallet. Now when we talk about million, we talk today as less as like 50,000 of those points. So that journey will allow us to get into large number and then all those places will place those hoardings. My expectation is that if we can distribute our wallet like matchstick distribution, like wherever you can buy a matchstick, you can buy, get wallet that is money. That is what we want to grow. Digital marketing is also another way of cementing basis in this space. Oh Your Rooms launched the Or Kya Chahiye, a 360 degree campaign last year that was promoted aggressively on all the social media channels through contests and other interactive measures. Taking digital marketing to another level, Flipkart and Minthra had closed down their mobile and desktop sites last year, converting into app-only shopping mediums. However, realizing it didn't quite work out for them, both of them are back to the basics now and have relaunched their mobile sites. So it's very simple. We believe in the app-only strategy and it's actually working for us. So I'll start with that statement and I'll tell you why we actually did what we did. Even when we launched the app, a big portion of the app was really around being able to be social. And what we mean by being social in the absence of the word is to share products, share collections with your friends. Now, eventually we'd of course like everyone to have the Minthra app, but since they don't at this point, the way to share it either through WhatsApp or through mail, suppose you're shopping on the Minthra app and you like a set of products and you want to share it with a friend. What the web page allows you to do is to be able to share that with that friend without that friend having to download the app. But what this allows you to do is to actually experience Minthra and the share itself becomes a lot easier. It's a lot more consumer friendly. But eventually to shop, you do need to actually get on the app and do it. But what we're hoping will happen is you get to experience, you get to taste a bit of Minthra, you get to see the products, you get to see the collections. Then you download the app. Instead of just saying Minthra has great products, we're showing you. So whether it's about creating an aspirational brand or marketing through promotions and discounts, there are a number of strategies that startups are adapting to stay ahead of competitors. The question is, what is a sustainable model? We've stayed away from discounting as a strategy. So we've done sort of very selective discounting when we get entered cities. However, a lot of these promotions that we keep running, they're actually very good for the consumers to sort of at least try us once and sort of figure out. One of our biggest growth sports came when we started doing, you know, hair is half a kg mangoes in every order during the mango season and people actually really liked it. And these are small gestures you make to the consumers to sort of, you know, have them try the app, figure out whether this is something that they will actually use and then they figure out the use cases. They will say, oh, I can use this app or this and that.  I think there was a time a few years ago where we stepped back and said, you know, the world of advertising is going to really, really move on to mobile because every one of us spends disproportionate amount of time on mobile phones.  We thought that we should do something about making advertising being loved by people. And therefore, you know, last year we essentially went about launching this platform called Meep which was all about reimagining advertising and making advertising, you know, making consumers love advertising. And we have done that and that's an effort that took us several years to work on. And we think it can change the face of advertising globally, not just in India. As a brand, I think it's slightly introvertish. Like, you know, it's about me. It's about my memories. It's about, you know, my connection with these drinks. And then you, as a brand, I think the attempt is to take you back to your innocent memories and, you know, probably try to have, say, we are reaffirming faith in life a little bit. You know, so that's what you're trying to do. Finance Minister Arun Jaitley reiterated the importance of startups in his budget speech. He proposed a number of initiatives, some of which include 100% deduction of profits for three out of five years for startups set up during April 2016 and March 2019. Well, many investors have been pointing out that the country's fast growing startups are in need of funding in order to scale up their business ideas. Considering a good chunk of the total funds given to startups goes into marketing, the policies therefore seem promising. We internally run three businesses, marketing, payments and commerce. Right. And marketing vertical is profit-generating. It generates, like, 100-plus crore profit every year. Marketing will be the wherewithal of this business. When you look at commerce, the hidden revenue will be made from marketing. And payments is where we are sort of leading the pack. Big marketplaces where we are spending the money. So next five years, our budgets are about 5,000 crores. And we were profitable last year. And before that, we've always been profitable. But this year, we will not be profitable because this deficit is where we are spending money and growth. So consumer growth, marketplace growth, and the ecosystem build up. These are the things that we are spending on. So we've raised a total of 47 million USD so far. Most of it came in after we sort of became a consumer platform. The expectation, the investors are not really sort of meddling with the business. They recognize that we are pretty much creating a category. So some version of this will be a big business. I guess that is the bet. To be very honest, like, it is actually a good place. So, I mean, when I compared to, you know, we ran this business for a year and a half without capital. And we were sort of growing at a very healthy pace. But, you know, you are dealing with a lot of, you know, you have to make sure that your money is well sort of well managed. And we didn't really have a team.  Now we actually have a team. So the sort of day-to-day becomes easier. The sort of longer term strategic, it becomes difficult. Now with the government allowing 100% FDR in marketing and processing of food products, this will encourage rural marketing in food processing industry and even for startups in this space. Clearly, one can't ignore the draw of the startup scene in India, especially with these new policies proposed by the government. The road ahead for startups seemed to be a positive one. For almost a year and a half, we were not a funded business. We were trying to bootstrap it. And we did it rather successfully. A lot of what we are today happened because at some point of time we wanted to make a small tweak and that tweak turned into, like, a business decision. Even if you look at us moving from purely a back-end player to actually doing a consumer app, it was an experiment that went really, really well. So I think sort of be persistent with what you're trying to do and be open to sort of making the changes. You know, when the first time after a series of some 30 plus investors saying no to us, the first investor basically backed us up, the confidence within ourselves as co-founders and the team really went soaring through the roof because it was the first time, you know, someone had backed us to a level where we saw potential of a success, you know, over a slightly long period of time. We also thrived in that emotion for the next couple of years of saying we are destined to do something big and so let's go for it. And a lot of times just going for it make things happen and I would credit that first big turning point to a lot of what we achieved later on in life.