This is Think Tech Hawaii. Community Matters here. It's one o'clock on a Monday afternoon, so you must be watching Think Tech Hawaii. I'm your host, Pete McGinnis-Mark. Now, every week we bring you scientific results from the UH Manoa campus, and it's either in space science or it's in earth science, so it gives me great pleasure today to introduce our guest, who is a returning guest. Estelle Bonney is going to be telling us a little bit about both earth science and space science today. So Estelle, welcome back to Think Tech Hawaii research in Manoa. I'm really excited to hear what you have to say today, because I understand that primarily we're going to be talking about a new scientific paper, which you've just had published, and this relates to... I'm trying to predict the end of the love flow from the interaction. And our backdrop, for example, shows a moving RR flow, which is these thick hot lava flows, which we have in Hawaii, and your satellite observations are trying to predict how not that lava flow, but other ones in general. So tell me a little bit about what the background is for your paper. All right, so it's basically the idea that a lot of people actually care about when an eruption starts, right? And that's really important, and we do care about it, but for long-lasting lava flows, it also is important to know when it's going to end, especially for some places where you have a city close by, and it can reach the city or not. People might have to evacuate or not. So knowing when an eruption would end, it's actually also a pretty big importance for how they're managed. So a hazard manager on the Big Island, the Hawaii Volcano Observatory, might be particularly interested in certain eruptions actually on the Big Island, but in your satellite study, presumably, you can look anywhere around the world, is that correct? Yeah, exactly. We use a certain satellite called MODIS, which is a moderate-resolution imaging spectrogeometer that's on board two different spacecraft, and it can go over the years and can image the same place four times a day. Four times a day. At what level of detail? The satellite I use has like a one-square-meter pixel, so it's really, really large, but it's still usable and useful for the repeaters. So you cannot see a person in this image? Probably not. But volcanic eruptions, presumably, are white enough, or how do you detect the eruption? We use thermal remote sensing, so the heat of the lava flow is detected from speed. Just to say these night vision goggles, which people can wear to see a person because of the temperature that they are emitting. Yeah, exactly. It's the same kind of principle, and do you make the observations during just the daytime or? We also have night time. You also have night time, so which is better? Night time, because then you don't have any solar reflection. So the sun reflecting off the surface of the line might conspire? Yeah, you need to think about into account. All right, let's take a look at the first slide. Even though we've got a nice backdrop here, let's take a look at our first slide, and I believe this is an eruption killer wear or this could be monolow. I'm not too sure which one, but this is the kind of thing which presumably would be detectable from your spacecraft. Yeah, so we look at lava flows. This is a nice fissure, and you can see those lava fountains that then get on the ground, and it creates those black line that then flow downhill, and that's what we are interested in. And it's not just the orange fire fountain, as it's called, part of the eruption which you're observing. It's the black bit as well, which is also hot. This black bit is still really hot, so compared to the surrounding, the temperature difference is high enough to be detected from this. Any idea of what sort of temperatures these flows are? So the red part is between like up to 1200 degrees Celsius, and the black part, the crust, might be, it definitely changes a lot, but between 100 degree and 500 degree Celsius. And of course, we look to the left, what we're seeing are fully grown here trees, so this must be quite a big eruption, so it's identifiable from space. Yeah, for sure. All right, and so far over the last few decades, we've only had eruptions of killer wear, but of course we also worry, and HVO worries a little bit about monoloa activity, and so your models might actually be applicable for that scale of eruptions. Yes, so full eruption is actually not really working for the model because it's been going on for the past 34 years, but monoloa is an episodic style of eruption. So having eruptions the last one was in 1984, and it lasted about 20 days, and that's exactly the case of what we could use the model for. All right, and our second slide I think actually shows the flowpants from the March 84 monolo eruption. Monoloa is down on the bottom left, A, correct? Yes. And then all those colors, the orange and the red, their individual lava flows, which seemed almost to get to the outskirts of downtown here. Yeah, it stopped almost, I think, about four miles away. So how would your model actually work then? You're making observations of these short-lived eruptions. Do you need to get there quickly, or what's the challenge in using satellites? So the challenge is to get near real-time data. Explain what that is. So basically, as the eruption is going on, we will get the data right away. There's no lack of time between when the acquisition is made and the time where we actually can use it. So right now, the data that I use is about 12 to 18 hours behind. So there's quite a large gap, especially if it's, let's say, a couple of days long eruption. So that's a challenge. But as we get those data, we can get it almost every six hours, which is way better than going on the field every six hours. Particularly in hazardous conditions, presumably. Yeah, and the measurement that we make is actually pretty hard to get on the field. There's a lot of assumption, and being in a lot of places is hard. But from space, you have this really wide view, so you can see the whole thing. So typically, you can get hold of the data of a newer eruption within 12 to 18 hours. Is that after the satellite has made the observation? You say it comes by every six hours? Yeah. Well, so about every six hours, because we have two satellites, and they come at different times. And they do one image per day and one image per night. So you have to look forward. So it's not every six hours exactly. And you get the data when they are above the ground station, they can send the data back to the ground. And I understand in your paper, you were doing what are called retrospective studies, correct? You're not working with a disaster manager, at least not yet. Not yet, no. So what we've done so far is actually just looking at the database from MODIS that we had since 2000, trying to see all the eruptions that have been detected since then, all the overflow eruptions, and then try to retrocast and use our certain method to try to see if we could predict the end of the eruption. And retrocasting would mean that you're looking back in time. Yeah, we already know when it ended. We already know when it started, but we pretend that we don't, and just use the data as if it was coming in real time. I understand. And how many eruptions have you been able to study in this way? About 100 eruptions. 100? Yeah. On many different volcanoes then? About 104 at 34 different volcanoes. 34 different volcanoes. So that many eruptions since the satellites were operating in 2000? Yes. And those are the resulting? About two a year. Yeah. Well, let's see. I think we've got another slide of another eruption. And this is the one which you have actually worked on, all right? Explain to the viewers what it is we're seeing in this black and white image. Yeah. So right now you're actually seeing Iceland. You can see in the larger image the shape of the island. And there's a zoom in on this those bright pixel right there in the middle of Iceland. And this is from the 2014 to 2015 holo-horon eruption in Iceland. And you see those really bright pixels, so the square pixels that are really bright, those are really hot, and that's where the lava flow is. I see. All right. And then I think in the next slide we'll actually see how you start interpreting some of these data. So here we've got a curve. Yeah. And again, tell us what the curve is showing. So this is the black line. This is a theoretical line called the watch curve. So this is based on the 1981 paper that he published. Jeff Watt. Jeff Watt, a UK volcanologist, where he defined this asymmetric behavior of the effusion rates over time. And the effusion rates is the instantaneous measurement of volume flux of lava that comes out of the ground. So we're basically showing a diagram. Time goes from the beginning on the left-hand side to the right-hand side. And effusion rate is in units of cubic meters. So the spike on the left-hand side. Yeah. So you can see, basically he defined that most episodic, basaltic effusion eruptions would behave like this with a really sharp increase at the beginning of the eruption. And then a slow decrease over time due to the elastic release of energy. And this is the part that takes the longest to do. And that's the part that we care about in the predictive way. And of course, in real life, time might be measured in days, in weeks, and a month. Okay. Okay. And the effusion rate, any idea at what scale of eruption, you say killer wear isn't a very good volcano to model. But monolow back in 84 was hundreds of cubic meters a second. Yeah, that's the sort of thing that you're studying here. All right. And I think the next diagram will actually show us in a bit more quantitative manner. All right, this looks really complicated. So help the viewers and myself understand what it is we're looking at here. So again, it's effusion rate on the y-axis against time or the eruption duration in days in this case. You have all the black crosses are basically synthetic data points. So I made this graph to try to understand how we use our model to predict the end of eruption. Is this for my specific eruption? No, this is just the general idea. So the idea is that time zero, the eruption starts, you get a first data point that's pretty low in effusion rates. And then you get a couple more data points, but you cannot do anything until your rates reach the maximum effusion rate. That's q max on the left hand side, the red cross. The red cross, yeah. So there are three red cross that are important to start, the maximum and the end. Then you have, you need to have a couple more points as the eruption goes on. And you have different colors. So you have orange, green, blue, purple and red. That tells you how much data point we used. So at first you only have a few data points. Then with that you can start fitting an exponential curve. And then as the eruption goes on you have more data points. So you fit a new exponential curve, et cetera, et cetera, until you reach the end of the eruption. And then we try to estimate this delta t of the difference between the predicted time and the observer time and see how it changes. Okay. And nobody had thought about doing this before or the data once available one? It's a mix of both. Mix of both? Yeah, because the data set that I used is only since 2000. And in the past, they've measured effusion rates, but at really resolution. So go there a day and then you go there 10 days later. So you don't have a lot of resolution tempo. You don't have a lot of data points to do it. So this presumably is why you published the paper, right? Yes. Well, we're getting close to the first half of the show but I want to pick up on that point when we come back because if nobody else had done this before, that explains why it's been such a popular paper. So let me just remind the viewers that you are watching Think Tech Hawaii research in Manoa. I'm your host, Pete McGinnis-Mark, and our guest today is Estelle Bunny, who is a graduate student within the Hawaii Institute Geophysics and Planetology at George Manoa. And we'll be back in about a minute. See you then. This is Think Tech Hawaii, raising public awareness. Greetings. I'm Martin Despang, the long-time host of human-humane architecture here on Think Tech Hawaii. Think Tech is important to our community because think about how awesome our natural environment is here in Hawaii and we need to make our built environment equally awesome exotically and inclusively. So because of that, for the first time, Think Tech Hawaii is participating in an online web-based fundraising campaign to raise $40,000. Your thanks to Think Tech will run only during the month of November and you can help. Please donate what you can so that Think Tech Hawaii can continue to raise public awareness and promote civic engagement through free programming like mine. I've already made my donation and look forward to yours. Please send in your tax-deductible contribution by going to this website thanksforthinktech.causevox.com. On behalf of the Think Tech community and enriched by Think Tech Hawaii 30-plus weekly shows, thank you so much for your generosity. And welcome back to Think Tech Hawaii research in Manoa. I'm your host Pete McGinnis-Mark and my guest today is Estelle Bunny, who is a graduate student within the Hawaii Institute Geophysics and Planetology at UH Manoa. Now Estelle, in the first half of the show, you describe this model which you've written up and it's been published. And as our next slide is going to show, you got quite a bit of publicity from this. So if we can briefly go across and maybe it's a little small print for the viewers to read, but on the left hand side I put together this is the cover of your your paper and it was published in a journal called Bulletin of Volcanology. And then on the right hand side just a glimpse of what the media attention is. Now for our viewers, I should explain that Estelle is a graduate student. She's working on a PhD and this paper which you published earlier this summer got quite a lot of attention, right? Yeah, it was actually my first paper. Your first ever paper. First ever paper and we have this person at school that make press release on what's going on at SOEST. And SOEST is the School of Volcanology and Technology. Yes, sorry. And so she put together a small text about my paper and this got a lot of attention and I got calls from HPR, the radio, from AOS and Science Magazine. So it was kind of surprising and exciting. Really? Yeah, it must be fabulous. I mean sort of your first paper and lots of people are paying attention. What kinds of things did they want to know? They really just asked basic question and everything I told them was what I wrote in the paper. There wasn't much things new but I don't know. It was like telling them how we got the idea, why is this so new and how this relevant to Hawaii. Any interest from disaster managers? Because presumably your methodology could be quite useful to people on the ground. Right, so far not really. I do have a contact IATO that is interested to use that model in case Manaloa wakes up. But that's about it. So are you expecting with all your future papers that you're publishing when you get this kind of media attention? It must be fascinating as a new graduate student to actually see that your research has got such broad interest and also some of the relevance. Yeah, I had friends on social media posting things from me and I was like, hey I found your name and I was like, oh my gosh. Even across the ocean in Europe people told me that they seen my paper. Really nice. All right, so you may not have included it in your actual paper but what are the limitations of your technique? You say that you've tried to apply this methodology to over a hundred different eruptions. Yeah. How often did it work? Do you know why it did work or not work? All right, so the first thing I need to specify is that out of those 100 eruptions, first we looked at the shape of this effusion rate. Does it actually look like it's doing this behavior all the time? And it's not. So nature is complicated and so it's actually, we only found that shape or that behavior 30% of the time. Okay. So that's definitely a limitation and we would not be able to tell the different shape before like quite a lot of the eruption happened. So you need to collect data perhaps for a week before you can tell the general characteristics of the eruption? So, but the part of it is that even if the shape is different, I could eventually update the model or the prediction as the eruption goes on. So we have different shape that we identified. So it's either completely random, but sometimes you do have a couple peaks. So instead of having just one, you have a second and we could update that as time goes on. Or sometimes it just has different shape that we could also try to model differently. So that's one limitation. And presumably it's critical to get measurements right at the peak. Yeah, exactly. How easy or difficult is that? Difficult because you can miss the peak. Satellite measurements are great, but they are affected by cloud. So if there is a cloud, if there is a cloud on top of it, it might make the measurement, but have a lower effusion rate that it actually is and miss the peak. And if you miss the peak, presumably this curve that you were talking about would start off at a lower level. And so you'd think it would end earlier than in fact it would do. That's quite useful. I mean, we are here a little bit about monolow when that might erupt again. But presumably that would be a very useful kind of eruption for us to be. Very good. So where do you take this model next? What do you do to help define it? Are you going to have more discussions with disaster managers so that it's actually of societal importance? What are your plans? Well, it's still need to work always. And the main thing that we want to do is actually, instead of retrocasting it, it's actually using it for a real eruption. But so far, I haven't had the chance to look at one as it goes. So I need to be on top of it and make sure that I start as the eruption starts to try to predict and make my prediction and see if that works. That's the one thing that I want to do. But the thing and thing is, we haven't talked about disaster management people. And I think it's still something that we need to take in. It's a good thing, but it doesn't have to be like, okay, the stylist is going to stop then. So now you're good. But it's still like maybe that's the sort of thing your advisor might get to help with. Yeah, hopefully. Interesting. Yes. So if monolo was to erupt, you have to get ready to work with the data from day one. Yeah. And we have no understanding monolo in past. The 19th century erupted for 200 days, whereas the 84 eruption only lasted 23 days. How quickly can you actually get some kind of information to even the scientific community if not the disaster managers? Well, I think really quickly, because this increase part is actually really fast. So it depends, but it can be from a couple of hours to a few days. Then after that, after this maximum is reached, that's when you can start feeding curves through the data. And so it might not be very good accuracy, but still can get us an idea. Would it help if you had either a greater level of detail, the spatial resolution was improved, or the frequency at which? Definitely better temporal resolution. Temporal resolution. More opportunities to image per day. Yeah. And like maybe using more than one satellite or using other satellites, and then importantly, having the data in real time. Can you augment your satellite observations with aircraft or with drones? Would that be possible? Yeah, sure. Why not? It could be something different data processing, but you can definitely calculate the same thing. So as long as the entire eruption is within the same field of view, you can't go over one place on one location and then elsewhere. It would be all the data said that we can include. And are you working on these ideas for your PhD thesis, or is this it? You've had enough publicity from this particular study. Right now, I feel like I want to do other stuff and then maybe I'll try to include more. But it's great to see that this first investigation that you've published got such wide publicity and that people see the significance of your work. And hopefully your advisor can actually start talking to not only Hawaii Volcano Observatory, but maybe elsewhere around the world. So congratulations on the work. Thank you so much. Thank you so much. Well, unfortunately, Estelle, we've got to the end of the show. But thank you again for being on Think Tech Hawaii. Maybe we can get you back at a later date. But let me just remind the viewers, you have been watching Think Tech Hawaii Research in Manoa. I've been your host, Pete McGinnis-Marc, and my guest today has been Estelle Bunny, who is a graduate student within the Hawaii Institute of Geophysics and Planetology at UH Manoa. And I hope that you will join us again next week for another show starting one o'clock on Monday. So see you then. Goodbye.


Hi and welcome to another episode of McGuire's Shop Talk. I'm Michael Stoops the senior global product and training specialist here and Joining me today is Derek Bemis who for the last 36 years has been the owner and Operator of detail works a professional detailing concern here in Orange County been doing this for a minute or two for a minute or two Taking care of a few different private collections couple of them pretty impressive as well as customers with you know I got a daily driver. I need to look on really good Yeah, we covered the whole spectrum and speaking to my right here is Marcus Klyce Who is our product developer for our professional and marine line of products? Yes, sir You've been with us for how long now? Four years as an employee and then I spent eight years as a moderator for McGuire's online Which is where I you know got very familiar with the product right during the time when I was the admin of the So well when we talk about wax because we got carnival wax we've got ultimate wax Which is actually a synthetic polymer sealant and we've got hybrid ceramic wax. They all say wax. What are we talking about with wax? What do we really mean with wax now when we've got I? There really isn't even wax in this. Why do we call it a wax? What's going on? It's actually a great question. I think it's becoming a household Dane when you say wax the car. I want to protect it. I want to make it look better I want to make it look good. I want to bring it back up to yeah No, definitely. I mean as a product developer, you know when you set out to create a product Sometimes you know what you're going to try and end up at with based on a name or sometimes based on a technology That we've found in the lab and sometimes you just start out not knowing exactly where you're going to end up And we've done that a few times in recent years with products But we know we're going to make a product that protects paint But we don't know is it going to be a true pure wax Or or or more old-school wax or is it going to be a sealant or is it going to be some mix of the two? so and and the reason is Customers know the term wax, you know, and you say I'm going to go wax my car Right, they may not actually mean wax sometimes it doesn't even just mean they're going to go put a sealant on it Sometimes it means they're going to go polish it right and they think that that is waxing their car You know, it's a it's a term that gets kind of used interchangeably I know with with all of the the quick detailer that we've given away at car shows for years and years and years People still come up to us and say, oh man, I love this stuff. It's the best wax. I've ever you know, right There's no wax in it. There's no protection in it, right? But but it's it's it's what they think and even with synthetic sealants like NXT and Ultimate and others on the market We still get phone calls from people who say hey, I just put a sealant on my car And I'm curious what wax do I need now and to your point and to yours they all protect the paint, right? So when we we look at this kind of whole range of things is we've got basically different generations of product here this You know McGuire's cleaner wax. This isn't just a wax just to protect the paint This also will kind of deep clean the paint and really this is the first consumer product By the way that McGuire's ever made dates back to 1973 and we still make this today from 73 but this and like high-tech yellow wax and Gold-class Carnuba plus they use primarily Carnuba wax as the protection for the paint and this has been traditional for decades that Carnuba wax is what was used because Carnuba is the hardest naturally occurring wax there is It's about that hard in its natural state So you can't really use it unless we refine it and add solvents and one up But then technology advanced and we got into synthetics like NXT tech wax and Ultimate wax And the technologies advanced even more and we've got this SiO to this this silicon dioxide back bone stuff But unlike consumer electronics and other industries This didn't make these obsolete right and this didn't make these you can still buy this these generations Co-exist what's going on there and it still works. I mean still does its job Yeah, but you know go out and shop for an iPhone 6 today. You shop for an 11 if you're cool, right? Right. Why are you still shopping for for this in my experience? customer preference There is a difference between the visual aspect from a polymer to a carnival Okay, or even to a SiO to it's different and people pick up on that and they like the old school But sometimes or they you know they want what they want when you look at technology and you talk about obsolete It's a good point, you know very quickly. You're gonna phase out and obsolete a Phone or a computer or something like that the new one comes out There isn't a whole lot of appeal the old one although I think like Nintendo's and stuff are getting cool again, you know 40 years later 30 years later Nostalgia, yeah, yeah then aside from nostalgia, you know There really is kind of a different way of looking at technology when you talk about car care And I think it's for a few reasons and one of them is frankly. We're working on cars You know especially you that oh, yeah are a hundred years old and everywhere in between right and People that have cars with that much heritage and original paint jobs and patina sure sure They don't want to put something on that car nothing the nothing at all That it was not available back at the time when that car was made, you know These are cars that that have emotional attachment usually for these owners and yeah, there's absolute There's a very early heirlooms. Yeah, they're heirlooms. I mean there's history You know you go to museums and all this car played a role in that, you know This parade in the jfk limo all these different things People want to stay true to the heritage of the car And so I think when they know that hey carnuba is what was used back then that is their preference Derek you're dealing with with customers that have nice daily drivers all the way up to Collections that may include cars that are worth seven figures Vehicle and and some of it, you know paint back to the night the nitrocellulis lacquer. Yeah, you know so These tools are very important for the appearance Yeah, so a given client who has this this broad mix of vehicles You're not necessarily using the same product the same protection on every vehicle. No, good. Absolutely not. It's a preference We get asked a lot by people. What's your best wax you make me so many This is only a small selection of what we we make overall, but what's your best wax? So we always ask them well, what's what's important to you? Yeah, is it is it gloss is it durability is it ease of application and removal because that's a lot of people Especially with old-school carnuba waxes they tend to put them on a little too heavy Takes a long time to dry and you're busting your shoulder trying to get them off, but the best wax for each of us May be something a little different, but if you're looking for if we ask you What are you looking for and you tell us I want something that's super durable because my car sits outside 24-7 And I don't want to have to keep taking care of it We're probably gonna steer you to something like the new hybrid ceramic line Right just because of that that durability the durability factor right yeah, okay with clients that have a mix of cars Do any of them tell you? Can you make this car look like that when we get the finish looking like that or what did you do? Oh my gosh, this just looks amazing. Can you can you mix things up for me or whatever? Yeah, we have that question, but I always preference letting them know You know this is what it's gonna look like when it's finished or I'll even do a test spot for them And let them know you know so they can make that decision on their own You know cuz they're not out there killing cars and they don't have the experience that we all have right you know so So let's say I put this hybrid ceramic all over this 1911 Yeah, right and The constant the customer says oh wow looks great, but it just looks a little off Well, it's because How it reflects and how it it's too shiny. It's too shiny. It's never that car New back then they didn't yeah, it just doesn't flow properly everything needs to be consistent. Yeah, yeah, you know so when we look at Going back to the technology a little bit here right with with Carnoobo waxes I mean, it's not just Carnoobo wax that's in the can because you couldn't use it It would not be usable we blend in some other silicones and polymers So the polymers were a little bit like well the solvents are a given because that's the only way that we can Make the Carnoobo actually usable, but there's other silicones and later some polymers that were added to enhance other characteristics I mean some of it is to make the application and removal easier. Yep, so that you actually enjoy using the product because let's face it nobody's going to repurchase a product that's a complete pain to use so we want the user experience to be something positive as well but Technologically we removed into synthetic polymer sealants We've got a lot more control over what can be done What we can do or how those those polymers behave with this, but this SiO 2 thing this opens up a whole new World of what we can do doesn't it? Yeah, and and it's a good question I guess you're kind of starting to get into what? separates these products so we've talked a lot about you know a Carnoobo wax is gonna give you a particular look Not everybody's gonna see that you know you do need someone of a trained eye typically Some people will pick up on it without knowing that you know why but they they do see the nuances of the difference And if I get there's no right or wrong answer here either if you like the way this looks and your neighbor likes the way that looks You're both right. Yeah, because you get to pick and choose. It's your car. It's what you're doing Yeah, so yeah, so you're gonna have the cosmetic difference of how it looks when you go into the polymers The polymer products we really can fine tune quite a bit in terms of How much it darkens how much gloss there is is it more of just a straight almost like a saran wrap type Coating over the surface or does it have a little bit more of what you know People refer to as kind of the Carnoobo glow or somewhere in between But as we start getting into the newer stuff, it gets even more impressive Yeah, that's self-cleaning that we kind of talk about Takes it really to a whole new level For example putting hybrid ceramic on my own personal vehicles When they're parked outside getting dusty and then they get a coat of dew overnight I could drive into work and by the time I got there It would pull the wind would pull all that the dust and the pollen And that water right off the car and basically clean it for each of this self-cleaning You're probably not going to get that with an old school wax Not as much at least and the reason is We've put an incredible amount of science into engineering that difference in surface tension If Marcus finds it that much easier to take care of a car that's that's properly waxed and well maintained and would actually Charge a surcharge for a car to get The way you maintain your clients cars you got to have the easiest job in the world, man Well, I've taken a long time to get there, but yeah, it's been it's been it's really easy now You know, yeah in some respects until you get that guy to call you goes Hey, man, I got a recommendation for you and I want you to come down and clean up my escalade and Yeah, yeah, then you know you you go back into the toolbox and think okay What am I going to use what processes am I going to take so when you when you do get a new client or someone That's got a new vehicle or whatever Do you talk to them about choices in in protection when it I absolutely talk about choices and educate them as best I can some clients just say don't do what you think I just want it clean buttery smooth again. I want it to be shiny. Good Other clients they want to know hey Exactly how you know good is this going to look when I'm done Can you get these marks out? Can you get these bird droppings to go away? You know, it feels kind of rough Can you fix that? And then I explained to them how the process works what we do to get it off of there We are hearing So much chatter the last several years about paint coatings to the point where some people will tell you that if you are using a wax today You're crazy. You are so outdated paint coatings are making everything else on the table obsolete There's no reason for it.  Are they putting a paint coating on everything and if not, why not in my experience? No, my experience No, you got a lot of experience man. Well, and there are so many tools out there to to to provide This like we were talking about earlier. These all protect everything in different ways different longivities, but they also produce a different appearance and In the collections that we work that I work on that's a big deal And you can you can certainly make the argument that a coating is going to provide the best possible protection The highest degree out of out of these we won't argue against that in terms of things that can be applied onto the paint You know either liquids or or sprays That's certainly the case But then the next thing I'm guessing that you definitely go through when you're talking to that customer is Well, how do you plan on maintaining this one client may say well, you're the only one that's going to touch that And I know it's going to get taken care of appropriately every time And maybe it's a brand new McLaren or something to that effect then putting a coating on it and having someone like you maintain it Makes sense. Definitely. It definitely can make sense But if that's a an escalade that is going to be parked outside because there's no room in the garage And they're going to be taking it through the local tunnel car wash and then see you every six months to wax it Do you put a coating on that? Do you take the time? To put a coating on a car that's going to get brushed to death in a tunnel And still going to get swirls and scratches. Does that make sense that? In in my experience, it doesn't make sense. No does not does not does not but That's a double-edged sword. Yeah, because they need that protection. It's outside, right But if I'm not going to maintain it Then I'm going to let them know look we're going to have to repolish this We're going to have to maintain this coating as if it were paint right And you're going to spend all this extra money to get this coating, but on yes, it'll be protected. Yeah, and unbelievably So I always go to educate the client no matter what product we're using as long as they have all the information They can make an educated decision and then you got you know the price factor, you know comes back into the equation, right? So that's a big deal That's the amount of cost for I'm assuming if someone if you're going to build somebody to put A wax on a car as opposed to Putting a full coating on a car is a pretty different decent walk. There's a decent amount of difference there So value for a customer Could certainly vary and maybe their budget just frankly doesn't allow for it But that is why we've you know done hybrid ceramic and we've mixed In some of the hybrid ceramic items truly actual wax polymer technology And an sio2 ceramic base and put them all together But in a way that does not have the the crazy high cost but allows them to get Many of most of the benefits of a true coating, but without the cost and as much necessary prep. Sure. Sure Classic cars You mentioned with the way They originally looked they never had that like insane Gloss to them What about somebody that's got an older car and they're really using it a lot because I mean a lot of people They'll have a couple of you know, maybe a hot rod or something like that and they're taking it to a local cruise night They're not They're not daily driving it. It's not sitting outside You can say the same thing about somebody with an old packard, you know pre-war packard or pre-war Those cars never had that kind of look but there are people that are using those cars They do things like the california mule the colorado grand They're putting a thousand miles in a week on these cars and they're outside and It doesn't matter what the weather is I mean these guys they do the colorado grand and they're driving through snow and sleet and rain In a car that's worth five million dollars that was built 80 years ago. That's so cool. Do you want to put a coating on that car? Again in my experience I almost steer him away from putting on a coating on on this situation. Yeah Because there is durability in these non permanent products Okay, great durability So it's a good point. I would stir them away unless they absolutely request and say look I want the best thing that's gonna last the longest, you know up to bar none. Yeah Bar none. I gotta have this. Yeah, then I'll do it But the other reality is if you go to an event like that Pretty decent chance of of getting some kind of a damage in that process You know, even with a coating Coatings are not perfect. They're not impervious, you know, and so if you put something like Wax a sealant or a hybrid, you know, s2 based product You can go through that event go to that event it lasts a month or two Whatever they need to get there get home and then you can clean the whole car up protection Address those issues and then reapply. You know, so again, it's really a unique situation. So what's the best wax? What what do you what do you like? Is it the look? Is it the ease of application? Is it durability? How are you using the car? What do you really want out of it? How are you prepping the car before you? Apply it that has something to do with durability of any product that goes on there So there's a lot of different choices out there a lot of different ways to go. Yeah Yeah, even Other with you and all your clients dealing with other than what's the best wax There's another question probably second most common which is for the hardcore crowd What order do I put? Oh, jeez? Oh Great question What order do you put a car nuba and a sealant if you're going to do both? Let's you do not have to do both. I want to be very clear on that if you're using the sealant like Ultimate you do not need to put A car nuba on top of it or the other way they both are designed to do basically the same thing They just do it a little bit differently. What how do you address that? If if i'm going to stack Yeah, let's say either a client requested it and or you feel ambitious and you've got an open saturday afternoon And you want to put two coats? What are you what are you going to do?  Yeah So we we all we all play around some interesting stuff I have been known to lay down ultimate paste And high-tech yellow on top of it and that's to get the durability of the synthetic sealant as a base And the look of and by the way M26 is a really pretty pure Yeah, and to get that on top, but I'll I'll do that based on color of the car But if if i'm going to do it i'm going to lay down The synthetic first and put the car nuba and just to go a little deeper I think what what what you're getting at there is you're putting the ultimate first because The idea is that's going to bond It's more durable and any longer term protection, but i'm going to get more of the look Of this this the 26 on top because the last thing you put on the paint is what's going to give you your final characteristics not Just an appearance, but also surface tension water beating characteristics. Ah and all of that now This is where you can best out so pay attention. Yes, that's where it gets tricky because if they want the surface tension Yes, so then you would I would do opposite. Yes, so there's the wild card, right, but again Depends on the client what they're looking for exactly depends on what right right, so that's the wild card is And some people think that you know, this is bible and that it is what it is synthetic first Carnoobus second and a discussion No, I would disagree and I would disagree for this reason But What is on top whatever the final product is whether you had a coating on the bottom? or Carnooba or whatever it is no matter what whatever is on top Is going to determine the surface tension and that surface tension is going to determine Slickness that's going to determine water beating and self-cleaning So from that perspective My personal preference is i'm going to put the hybrid ceramic on top Or a hybrid ceramic detailer or a hybrid ceramic spray wax or something like that and i'm going to personally Prefer that whatever gives me the highest contact angle last I've told people Since the introduction of this and the hybrid ceramic detailer If you absolutely adore gold class carnival plus you love the way that looks But you're itching to get that water beating Keep using that and then get the hybrid ceramic spray detailer And use that regularly You get really the best of both worlds that because as a detailer it's really not going to change the look that much But the water beating you get that crazy intensity. Yep, right? Not your customer should want that all day long. They do great solutions. They do I'm glad we finally answered the age old question of which comes first with multiple options and no definitive answer Whatever you want to do is really the right is is hey and we we hear we hear all kinds of of of Fun and interesting stories. It's probably the nicest way to put it. There's no right or wrong answer really to a lot of this other than Yes, this will last longer than this. Yes. Oh, yeah, this will clean better from this And that dates back to 73. So is the cleaner wax better? It's better at cleaning. Okay It's not as durable. So really it it comes down to it doesn't matter how many more generations of product We end up developing as long as the older stuff sticks around. What do you like? What's important to you? How much time are you willing to give your car go with what you like? Understand durability means you don't have to do that as often There's no right or wrong. We are available to talk to on social media We've got the phone number for our solutions hub phone numbers on the back of every bottle of product we make zoom in tight It's right back here And hold it up long enough you can go out to your garage grab a bottle of Maguire's product our phone numbers on there You can call the guys and find out Lots of stuff going on no right or wrong answer technology will keep marching forward Yes, but the beautiful thing about automotive appearance care is We let you keep all these options for the various generations of technology And I think we've probably confused people enough for one day, huh guys? I think we did a great job. It's done here. Yes Yeah, are you are you confused or did we clear it up for you clear as mud? Anyways, hope you got something out of this Uh lots of information that we threw at you a lot of different ways to get a hold of us on social media Our solutions hub give the guys a call Derek mark It's a pleasure for hanging out and uh shooting the breeze about waxes and sealants and paint coatings and Making your car look good no matter how old it is. Thanks guys. Thanks for watching and we'll catch you again next time


If you want to show changes over time, you do have the option of doing the basic line chart, which I've showed elsewhere. But Google Sheets also gives you a specialized timeline, which is designed for things that have months or years on the bottom, and a change in a quantity often financial over time. I'm going to use the same data here. And I'm going to show you how to make this specialized timeline. I'll start with just the first two columns, month and donations. And when I click on the insert chart, it's going to give us the default timeline, which we've had before.  And I'm going to click that and go way down to the bottom, where we have the timeline chart. And when I click on that, it's a different kind of thing.  Now I'm going to do a couple of things versus just to clean it up and come here to customize. And I'm going to change the line thickness from one to four, so the lines thicker. And I'm going to give it fill opacity, just 10%, which fills in the area beneath it. And it makes it a little easier to see what's going on. There's one other important thing, you'll see that these values here go from 5,000 to 10,000 to 15,000. But they don't start at zero. And in my mind, they should always start at zero. So I'm going to click on this box, expand range to show zero. And now we're set. That's as many options as I have for this. But what I want to show you is that when you come over it, you see, as I go over a particular value, it will highlight that value and give us the date and the amount. You can control it two different ways. Number one is you can come down here and you can drag this box to set your own time range. That's, you know, that's the whole point of having the timeline. Or you can use these zoom buttons, you can say go back to the max show me the last year show me the last six months. If you've ever worked with financial data on the web, you often have these same options. Now, this is a simple timeline with just one variable being displayed, we can do more than that. In fact, I'm going to come back here and I'm going to copy this chart. Now let me drag that new copied chart down. Not overlapping. And what I'm going to do in this chart is I'm going to change the data that it uses. And I'm going to give it all of the data, I'm going to come back up here, just click in here and do the shift controller command and space bar. That selects the data. And now I've got all of it there. And there's really nothing else I need to do because it maintains all the same options that I already set. But you know, we can still do the interactive thing, we can click right here, we can come back a little bit.  As I come into the chart, it'll give us the actual values of each of those as we scroll through. And so that is a great way to explore the data and to see what's happening there as well. And so the timeline chart, while it has fewer options overall gives you some very specific functions that are hard to assemble on your own, but give you the ability to explore your data in more detail.


He's soon to become the Chief of staff at Wikimedia, but today he's here as the CEO of creative commons The makers of CC licenses used to share content and the simple permissive terms to enable use and reuse so Please give a big hand to our next speaker Ryan Merkley. Thank you very much. I appreciate it. Oh This is probably the nicest room. I've ever gotten to speak in this is so beautiful Mark and I were just admiring all of the detail up there It's just such a beautiful space to get to speak in and I can sort of see your faces if I step a little bit forward So hello everybody and good afternoon. My name is Ryan Merkley. I'm today the CEO of creative commons But as they mentioned in the intro, I am outgoing after five years in this position And the incoming Chief of Staff at Wikimedia where I'll start Middle of September so today I'm wearing my CC hat This is actually the last time that I'll speak publicly about creative commons. So that's kind of Bittersweet a bit of a treat for me because the first time I spoke for creative commons publicly was actually at wikimania 2014 I'd been on the job about six weeks or so And got the chance to speak at the London conference there And it was a very different event from my perspective as a As a friend as a cousin to the movement and CC who have such close relationships I was remarking to someone in the hall today how how many Organizations and individuals and partners and friends of the movement come to this conference now And it's really really heartening to see what we like to call the big open be a place where we all Recognize that there's some stuff. We're all working on together And that there's a bigger picture that goes beyond just Wikimedia or just CC or just Mozilla or just the internet archive But there are many many organizations with common goals and a lot of overlap And so I'm really happy to be part of that and to continue obviously being part of that So let me spend a couple of minutes on what CC licenses are I know lots of you are fluent in them because they sit as one of the core tools used by the Wikimedia movement They're gonna spend just a minute on it Copyright is automatic from the minute that you fix the work Which is the minute you've create the work copyright is yours whether you want it or not You don't have to register it. You don't have to do anything copyright belongs to you And that problem of having copyright and not being able to get rid of it easily Was the problem that the founders of creative commons wanted to solve? They wanted to make it easy for people the growing Enormous group of humans who were making great things and wanted to share them on this new thing at the time the internet This was almost 20 years ago. They wanted to make it easy They wanted to make it so you didn't have to hire a lawyer in order to let other people use your work and so they Came up with this idea that they would hack copyright that they would build on top of the laws of copyright Which are international and supported by international treaties and also national laws and that they would make a simple set of Licenses that any person could use without paying for them that would work in every jurisdiction Eventually and through the very hard work of international communities and legal experts those licenses were adapted for every single country in the world and then combined in the About eight years ago into the 4.0 license, which is kind of one license to rule them all a single license that worked worldwide And the idea was some pretty simple terms that each user who made a work could share under those terms They you pick your terms and it's kind of a standard offer and it takes out that friction of Permission I no longer need to ask you to use your work. You've said you can just use my thing here The terms as long as you follow them were fine And that was meant to increase access to those works It was meant to create more equitable access to works because you didn't have to know who to ask you didn't have to have Agency or power all you had to do is read the terms And it was invented in intended to drive Greater creativity and more innovation because we don't know where those things come from and the best thing you can Do is remove the barriers that enable that to happen so that as people find those works They can do whatever they may wish to do with them and whatever they need to do with them for whatever their purposes are So the terms as many of you already know by which is you may use my work so long as you give attribution Share alike, which means if you make a derivative work, you must license the new work under the same terms Non-commercial which is you can use it for whatever you like as long as your primary purpose is not a commercial use or a for-profit use And no derivatives you may use my work, but you can't make anything new out of it You must use it as I've given it to you So I'm here to talk a little bit a little bit about CC and our impact and our relationship to the SDGs and You know us for the licenses those licenses have been applied to over 1.6 billion licensed works around the world In just about everything you could possibly copyright from the obvious things like photos and video to the newer things like 3d models and People are sharing those things all over the world one of the areas we do the most of our work in probably intersects with SDG for down here The education SDG And for us We really think that the CC licenses put this sort of infrastructure of open into open education Now open education is this idea that these tools that we or these resources that we want can be used by anyone In any way they want sounds a lot like Wikipedia But in addition to that that those the as we take open education forward it goes beyond just the idea of open Educational resources reusable tools licensed that anyone can remix and reuse and adapt But actually to the idea of a meaningful engagement with the learner the idea that the learner Can have those materials adapted for them and so that they can reflect them And so you'll see the names of people who sound like your name in the materials that you're learning from Or that your stories can be adapted into the learning materials that are being given to you or even better That you can be co-author of those materials as a student as part of your work And those who know the wiki education foundation know that that's core to basically how they work this idea of Having people contribute to something that has value in the world and learning while they're doing it And all the research says that when you give people those kinds of experiences They learn better so we've we figured out how to learn better we figured out how to teach people better and meet them where we are We've also threw open education worked on the issues of inclusion and equity because those materials are accessible to everyone Michael's talk this morning one of the things he talked about was how a hundred and change a hundred million dollars to one project In some ways would seem like a drop in the bucket And for those of us who work in open education where philanthropy has done so much amazing work to seed the world of open Education we also know that it's kind of a drop in the bucket when you compare it to what? Governments spend every single day on education around the world It's trillions and trillions of dollars And so the real money is if you can get governments to get together and see the value of open education and the potential of Collaborating internationally where the one thing that you build gets reused and reused and reused Sounds obvious to those of us who've worked in open source and open content for so long Where the first rule of open source is never write new code Look at what's already been built and see if there's something that already serves your challenge See if there's a way that you can remix it and reuse it see if there's a community already trying to do it Why don't we do that in education? Think how farther and faster we could go excuse me We could go with SDG for if everything that anyone built became primary material for the next thing everyone else built And one of the things Creative Commons does as part of our work is advocacy all over the world and most recently Earlier in the summer. I was in Paris at UNESCO Where a number of its organizations including creative comms, but lots of other players who we work with in the movement and countries representative countries from all over the world Spent two days in a room editing and working on a recommendation from UNESCO Which would endorse the concepts of open education and start to embed them in the work of international governments to start to get at Those trillions and trillions of dollars now Recommendation from UNESCO is about as high as you can go and international before you get to something like the SDGs So it's a pretty big deal and this November that recommendation will actually go to UNESCO And will be hopefully approved by all of the member states. I'm pretty excited about that work I think there's a real opportunity for Advocates and governments and educators everywhere to grab on to that because these things as you've already seen with the SDGs Stand as an example that people can point to and say no, this is this is where we want to go This is the direction that we hope to seek and we're gonna go there together And I think there's there's a lot of power there and a lot of potential when that gets approved Hopefully in November before I run out of time one thing I just wanted to float because in Michael's comment this morning one of the things he said and I really liked was he talked about the value of play And the importance of throwing out new ideas and seeing if they stick And so I want to share with you an idea that comes from a colleague of mine His name is cable green and he's the director of open education at CC and well known in the open education community And cable for a number of years has been talking about this idea that I really have kind of started to fall in love with And maybe more so because this is the perfect place to talk about it is the idea of an SDG degree The idea that we would reframe the SDGs the most challenging issues facing our society and build education systems around them Where every student at appropriate levels for where they are would have curriculum that was designed to invite them into the problems And also to work on how they would tackle them and we would do it in an open educational context So everything that they made would be shared openly they'd be able to start their work once they were introduced to the issue Looking at other work that had come before so that they can continue to iterate and remix and rebuild and come up with new ideas You could even have actual university degrees But instead of a degree and say the arts you might have a degree in life on land or life below water Built around tackling those challenges and addressing those issues in a way That would help us move that ball forward with everything published openly all of the papers open access all the materials open educational resources And everything designed not just for use but for remix because until we start remixing those problems and realize that innovation could come from anywhere And everywhere will never really tackle these challenges together in the ways that meet every single community where they are I really want to thank the organizers for this this theme It's exciting to be able to kind of take the work that we do every day and mash it up against a very different idea That's so obviously intersex, but it's not a place that I think we normally would have gotten to by ourselves And so I find that really exciting and I appreciate the opportunity to kind of think a little bit differently about the work that we do Last thought you know the the thing that really lights me up is collaboration I get excited about the kinds of work that can only be done when people work together The things that we can only do when it's all of us not just one of us And the thing that we've all decided to do and build together is one of the greatest Greatest collaborations in human history and it has the potential to work on every single one of these goals and beyond And so that's really really exciting for me I look forward to working with all of you in the future in my new capacity And I want to thank everybody for all the opportunities that I've had to work with you in my previous role at CC Thanks very much and enjoy the conference Thank you Also you get this Appreciation that's very thoughtful. Thank you. Thank you. Thank you very much


But if anybody had any questions about your work and your creative process, I will pretend to know the answer. I'll wear my glasses, which are actually a leftover from my Halloween costumes. You know, really. My son went into the Halloween store over there on Broadway and 11th Street, and he was like, I don't want to be Spider-Man. My husband said, we want to be something too. So we just got some glasses off our shelf, and we were in there for a while. So, I know. They can have real faith in things that I'm going to say to you. Wow! So anybody have any questions about your work or your creative process?  Right. And then after I have the story, then I think about the dialogue, and then so on and so forth. But I always get really hung up on the story, in which then it becomes more of a novel than an actual play. And yeah, I just wanted to know what ways can I go about, like, I guess. Not doing that, but more of having the dialogue in my head as I'm going on with the depth of the story. Okay.  When is the dialogue in here? When I realized that I have just full on story, and then there's no dialogue. And so by the end I was like, okay, I love this work. The first scene, and then I go, wait, there's no dialogue. It's just a story. It's just a story. I mean, but what's great is that you're so wrong, right? She's right, everybody heard her right. She does school things. There are different ways, as you know, there are different ways to approach everything, right? And there's no right way, and there's no, on this project, might be less effective on the next project, and you might have to do a combination of the two on the next project. So you don't want to, you want to remain flexible at all times, right? Okay. There are two things. It's interesting. You want to cultivate your flexibility. At least you want to try different ways to do it, which is great. So you're here wondering how you might change it up. And you also want to encourage a form of discipline, which might seem like rigidity. Seeing in both, right? I don't know if anybody's talking about the police or some kind. But we don't know where he is, or she. But anyway, so you wanted to do both, right? Yeah. You wanted to do both. So you want to, one thing that you can do to encourage that rigidity or that discipline is you want to show up every day and spend at least 20 minutes writing. I don't know why 20 minutes is the optimal thing. But I will get into your subject then. For 20 minutes seems to be a wonderful, sort of small, effective unit of time. If you don't have any time during the day, 20 minutes, you got 20 minutes somewhere, right? Okay. Absolutely. Exactly. Okay. So, okay. But that's great. So if you don't have like a 20 minute, big, 10 minutes here, 10 minutes there. You want to keep showing up for it.  And I was like, 20 minutes?  So the soccer coach says it. The writing coach says it. The meditation teacher says it. It's a small unit of time, but it's totally possible. Think about where you waste 20 minutes of time, right? Okay.  Okay. It's that silent. Okay. So here you go.  Where's the dialogue? Right? Okay. So how can you, I think it's a great way to start working. Think about the big story, beginning, middle and end, maybe, or at least beginning and end. You know where it ends. Great. Okay. So now to get into the characters, do they have names? I'm sure they do. Right. And so can you feel like maybe what their bodies feel like? So when you think of your character, like character, maybe her name is character A, how far away from you are you? How far away from her are you? Distant-wise. Character-wise? No, just like in terms of feet. Actual. Yeah, I know. See, I'm very little. Like when you see her in your mind's eye, where is she? She's a little distant. Right. That's what I'm thinking. Because you probably are seeing the whole story.  So what I want you to do is decrease the distance. Get really close. How close do you have to be to write somebody? You have to be really close. Maybe this close, right? Or maybe so close you're going to walk around your shoes. And then suddenly you're seeing the story from here, right? And you're a character in the play. See what I'm saying? Do you have to go inside if you're a lot closer to the character? Right now you're seeing it from a distance, right?   You want to talk like she talks, you know? Act it out.  That feels okay, right? Yeah, that's normal. It's theater, it's normal. Great, great. So you're going to act her out, right? So you're going to be moving through the story. And then also what you have to do is you have to do it many times. So you have three characters. You do it once for her, then the second time for that one, the third time for that one over there. Tracking the character through the story. You have to do it three different times. And then you move back again and see the big picture again. And then you move back in. So it's a constant back and forth. And then you start to hear the characters, feel the characters, write the characters. And they're not at a distance. Does that make sense to you? It makes sense. Okay, so try that. Just get a lot closer to your characters. Okay? Are you doing it? Yeah, yeah, yeah, yeah. No, I know we're laughing. But that's usually, usually, like 100% of the time, if I'm having problems writing or anything, anything, works with anything. If I'm having problems filling the blank. With exercise or relationship or blah, blah, blah, blah. I go, am I putting the time in? And if I'm having a problem with it, usually the answer is no. No, I'm not putting the time in. I'm spending my writing time reading about, no, no, no. Right? Right? You know? And then it's like, well, maybe I can shift that. Maybe I can change that. If I can change that, usually putting the time in yields the kind of results that I'm hoping for. So always, that's the first thing we check, okay? All right. That was a good question though. It was a really good question. And also, nothing wrong with writing the novel. You know, everything. So if they're novels, that's cool too. Yeah. Anybody else? I'm going through, I'm at a point now where I was saying last week that China make a connection. Right. And it came to me, but what I wanted to use, I found it didn't follow. Okay. So I'm going back, but what I'm finding is that I have to wait so I get that sense of, you know, the inspiration to do it. Right, right, right. You know, I can't force myself to do it. But at the same time, I'm always thinking about it. Right, right, right. I'm thinking about it, but I actually sit down and submit. Right. You know, I'm waiting for that breeze to blow in. You're waiting for the breeze that's so beautiful. I'm waiting for the breeze to blow in. Remind me of your name. Philip. Philip. Right, Philip. So is it okay for you to wait for the breeze to blow in or do you want me to tell you what I mean? No. How do you... I'm going to play with it, like I said, as long as I'm thinking about it. Sure, sure, sure.  Right, right, right. You know, but I'm just longing that I realize I'm thinking about it. Right. I'm thinking. Okay. If you had something... Well, I'm going to... Well, I mean, because I'm going to say something... This is the thing. Sometimes our writing time or our time for creativity can only be turned on the timer and kind of sit in front of the page. And that's kind of... That's great, actually. That equals writing for 20 minutes, too. Sometimes that's all we can do. Sometimes the... Like Philip says, the wind is not blowing, right? And all we can do is just sit there, and that actually counts as showing up every day. Right. And there's a famous saying. There's so many famous saying about this. One is inspiration is for amateurs. So, so, you know what I'm saying? So I would say if you want to step on the game, give a try sometimes of leaning, not waiting for the wind to blow, realizing the wind is coming from you. You know, whether the wind is in you, the wind is... Your inspiration is actually inside you.  I mean, whatever people believe in God or not, the spirit is inside. And so you can... And the spirit is actually OK with you writing something that's not, like, perfect and great the first time around. So you can try it. It feels like whether it's, like, not cool, then forget that saying and just show up every day. That's OK, too. So you can... Again, this is our flexibility, right? The discipline is to show up every day. If you work, let's go, just constantly be thinking about it. That's part of the discipline, and you're doing the work. OK? And if you want to maybe take it to the next level, you want to... Or lean into a little bit. You know what I mean? You know, you have to, like, just lean into a little bit. But sometimes the spirit is, like... Come on, Philip. Like, come on. Yeah, there you go. Come on, man, come on. See what I mean? See, the spirit wants you to... You know what I mean? Yeah, yeah. Reach a little bit. You know what I mean? Reach a little bit like that. And I think that sometimes, all we got to do, we just got to reach a little bit more.  And here you are at mile 2022. You know, I've never run it. I've run 22 miles, but I've never run, like, a marathon. Right? So, but he has. And he says, you know, you get to that mile, has anybody run a marathon recently? Well, you get to that mile 22. And apparently, like, you have nothing left. Okay? And that's that thing.  And somehow continue. You know what I mean? You know what I mean? So try it. But if it feels, like, totally, like... But it's okay. Okay? You can play with that a little bit. But know that sometimes that resistance is the spirit saying, what you got? What you got, Phil?  Right? And that's all the spirit's waiting for. Thank you for showing up. Great. That's awesome. Anybody else? Yes. I'm Holly. So it's drama, right? Yes. So I think I'm the total opposite of drama.  I think I can write dialogue for hours. Right. Of the character. But I don't think structurally at all. It's just kind of like the space between the characters is what's exciting for me. Oh, great. The back and forth. And sometimes minutiae and details. Like I don't know what's important in the play for a long time. I don't know what the center of it is. So I mean, I've done different things to play the structure. Like put cue cards of different things up. But I'm just wondering if you have any habits or practices that you do if you have a bunch of material in terms of playing with structure. Right, right. And this is... So you name it? Holly. Holly. So Holly, that's really... It's great. Because it's like, yeah. You guys could just... I know. Yeah, you could make the other. But it's really cool because, yeah. I mean, and this is not what Holly's saying, but I've had students over at the wonderful school. And why do you do the wonderful school? Say, oh, I thought of some great characters and now I got to think of a plot. Hmm. I think it was maybe yours. It was not Chris Barlow. But I think it's a people... They moaned that they had to think of a structure to go along with it. It's not what you're saying. But I am... A ginormous fan of structure. Like, it's ginormous.  And this building is a structure. And it's all... Everything's a structure. And sunrise and sunset, that's a structure. And the way a flower opens is a structure and everything is a structure. And I love seeing patterns and design.  So, if you're looking for, like... I love my characters, but what's the story? Right? Is that kind of weird? It's like I... It's like I have this story. Uh-huh. Just not... It's like all the pieces, but just not how they all fit together. Right, right. So you can...  And he said that. You're like in the couple of parties. So now you do the opposite. You step back. Not too far. You don't want to follow this thing.  What's the story? You want to see... You want to see this. And you can't see that. You can't see the forest for the trees. You can't see the trees for the forest. And you can't see the forest for the trees, right? So you want to step back and take a look at it. And see if you can ask the characters, what's the story? You know, why are you here? Maybe spitball a few stories. Once upon a time there was a character named, maybe, well, A, and she did that at the time, and in the end she did that. You know? You can ask the character, what's the story? What story are you in? You know, if we asked Cinderella, she would tell us. You know, instead of getting all into, like the dialogue between her and her sisters. You see what I mean? So the characters often know. Or you can actually step back and just, look at the shape of it. Figure out what happens in the beginning. Figure out what happens in the end. Figure out what happens in the middle. Yeah. Does it kind of sense? Yeah, but I love...  I love that. No, really, it's a... And I learned a long time ago that character is structure. Structure is character. They're all of the same piece. It's not like you have to do one than the other. You're constantly doing both at once. Hi. Hi. My name is Wallace. Hi, Wallace. So, I've never had any normal training as a playwright. Right. I'm taking a class here, but not like a degree or anything. Sure, sure. Me neither. So one of the things that I noticed with my particular play is how willing am I to let the characters say be honest with each other. You know, instead of like saying what I need them to say in order to get to the next thing. So, I mean, I'm wondering about when you're creating a play and you have the characters in the room and you notice maybe the characters holding back or how do you deal with that? Right, right, right. Well, that's great. Everybody heard? Wallace, right. He has his characters in there. It's a difference between what the character is saying, what the playwright wants the character to say and what the character needs to say. Right, there's a two different things. And you can kind of sort of tell a lot when the character is just kind of saying what the playwright needs. You know? Or when the character is saying what they need. So, geometry. Does anybody know anything about geometry? No, I don't. But this is some like, no, this is real geometry as it applies to writing. Two points make a line. That's like a truth in geometry. You're not here. You've been here before. Yes. What's your name? Jasper. Jasper?  Jasper, hi. Welcome back. We were different. But you know geometry. Two points make a line. Does that sound familiar? Right. Okay. As it applies to playwriting, two points make a line of dialogue. How good is that? Okay. It's because you take your character A again because she's so busy. She's in three places. Character A, where is she now? Point number one. Where does she want to go? Point number two. You can hear her dialogue if you think of where she is right now in your play and where she wants to end up. Right? Did you understand? Yeah. I know. It's great. I think of school formal training.  But I give it to you free of charge every Monday afternoon. But do you see how it works? So again, we do it wrong. We get inside the character and we see what she wants. I want to... What I'm thinking of, I love what Hamilton, Hamilton's a guy, but it works. I want to figure out what to do about my stepfather. Right? I want to figure... So sometimes he lies. Sometimes he tells the truth. But he's trying to figure out what to do about his stepfather. That's his thing. Okay? So get inside the guts of your character and figure out what they want. What do they want? And that's going to tell you and where are they going? If you know the end, their end point, how do they get there? And that's what their dialogue is doing for you. It's helping them to negotiate that path. Does that make that kind of sense? Yeah. And do... The audience doesn't need to know what they want. Right? Well, sometimes, like in what's their play? Three sisters? They want to go to Moscow. And then they say... You know what I mean? In Blast Menagerie, what's her name? Homegirl, Laura, whatever her name is. She wants a gentleman.  A gentleman caller.  So we... Yes, the audience can know, but they don't have to know. The character has to know. You have to know. You have to have a good idea about what they're going for. You know? Just like when you left your house this afternoon, right? Yeah. Did you... Oh, I didn't know, right? Right?  Or like this. Oh, I don't know. You know what I'm saying? But you know where you want to go, so you're going to make your move there. Okay? I didn't have to know where you're going. But... You see what I'm saying? So... And I would say generally, although people with disabilities, I think less about the audience and more about my characters and the story. Because the audience can change from night to night to night. If we're lucky, our plays get done all over the world. In languages, we might not even speak, and that's great! You know what I mean? We don't know what those audiences want or anything. But if you focus on your characters, focus all so much attention on your character and what they're doing and what they want. Okay? That makes sense? Yeah. Yay! Yay! Oh, yes! I have a question about showing up since we were talking about it earlier. I was just wondering how does one show up even to do 20 minutes a day? Not necessarily if you have writer's block, but if you're sad that day or angry about something or frustrated, how do you still show up when... not, you know, horrible writer's block, I have no idea what to do, stare at the page until my eyes bleed, but just, you know, how do mere mortals show up to write every day when we have things that want to get in the way so badly? That's a great question. That's a question we all have to ask. How do we... I mean, I know there are... I mean, these are champagne problems we have. We know that. And we acknowledge that because we don't... I don't know, you know, we, the simple theory, we don't have to walk five miles a day to get water and things like that. Okay, so we're lucky, we're so lucky that way that we have these kinds of problems all the more reason to commit ourselves to showing up every day. It is really hard to show up every day when you're sad. It is really hard to show up every day when, ooh, you make the mistake of reading the news first thing in the morning. Don't do it! Because one of your favorite people is going to be caught. They won't stop them with the same thing. It's going to ruin your day. You know what I'm saying? And you really won't want to show up because someone thought it's such as just a Hoosy Whatsy and blah, blah, blah. Right? Okay. So there are things you can do to make sure that... that kind of stuff, you can keep that stuff at bay, like show up before you go online to check your email and your Facebook and your news feed and what not. Okay? So you can organize your day for success. So I would say, I would just personally wake up in the morning, maybe you do your meditation, I do.  And you get that done.  You need a pen. Do you have a pen? You okay? It's... Yeah, it is. There you go. Share. There you go. Boom! Thank you. Okay? But so I would suggest that. Right? Get yourself up for success. And if you're sad, I think all the more reason to show up for yourself. And if you're angry, all the more reason to just...  And again, I go out all night about how the phone is not such a great timer, get an egg timer, get a timer that's something that if you can, it's something that only counts down the time. Okay? But set the timer and just sit there. And write, I am sad. I am sad. I am sad. That'll work. I am angry. I am angry. That'll work. And then at the end of it when the timer goes off, and I showed up today for myself. I showed up today for myself. You know, that's a great thing, right? It's a know that you're doing it for not just for yourself, which might sound selfish, which is, you know, gets a bad rap. But you're doing it for us because if you can do it, then you can encourage somebody else to do it. And then they can do it and suddenly there's a good feeling going around instead of a shitty feeling. Right? Yeah. Okay? Cool. And thanks for coming back from wherever you were. Where you were? Japan. Thanks for coming back. Hey, Matt. Hey, how you doing? My name is Marcus. I'm not a playwright. It's okay. I'm an actor. That's cool. And if someone like me was interested in dabbling into writing if they started now, would you get that single price that you just gave? Totally. Totally.  Totally. You knew what you do.   Sit down with your notebook and write for 20 minutes. Whatever comes to your mind.  See what's there. Because the desire to create something means that there's something there that wants to be created. You know what I mean? There's a character or a tune or a story that you want to tell, you know. And usually that means that there are people out there who want to hear it. Okay. You guys just put in the time. Just put in the time, okay? Thank you. Thank you. Yes. I have a question from online. It's a person named Christy. She's from New Jersey. Christy says that she lost three quarters of a script in the mountains or an attempt to rewrite it. She's wondering if she should completely start over or try to recall and write. Wow. She lost three quarters of a script. How does she maintain another other quarter, the quarter that she didn't lose? I mean, so she lost three quarters of a script in the mountains. I don't know the mountains, the mountains. Wow. Okay, it's okay to be lost in the mountains. And so she could try to recall it or should she completely start over? I would say recall it. I think the starting over smells like something else. It smells like yeah. I would say try to recall it. And I would say give yourself Christy a time limit. You know what I mean? Like give yourself like two weeks to get it out. You know? And get a draft. You know what I mean? I would say that. Yeah. All this also works when you lose a script in a flood, a fire or traveling through outer space. Come on, you have a name. Rebecca. Rebecca. She's been here for three years because she lost a script. Right. Find a Which one was it? There was a follow-up to it. Oh, right. Wow, wow, wow. She lost a script. A fire. A fire. And fire. And fire. So the real lesson is to get out. Yeah. Right. Right. The action is action. But there are psychological, it's always interesting when we lose, we lose something in the mountains or in a fire, you know? And in what we do in response to the loss, I mean that's the... how do we recover from a bag of shit? How do we recover from a loss like that? And what do you do when you've lost something that's very dear to you and how do you recover? and I suggest jump right back in as fast as you can and mourn if you need to but but get that story right right right I remember you because you've been here before so right Jack says when you're working on more than one project at once how do you balance it and I was I just thought out of a meeting with somebody and they were like how do you work on certain things looking at me like and I said well I have turntables this is my new analogy not turntables so I have like many turntables right so I mean they're in my mind but you know those of you don't know what a turntable is it's the thing that goes around the records okay so imagine that you have you have two projects one that you're trying to okay so which one is the one you're working on now just just where is it in your brain but where where I'm sorry where is it in space it's right here great okay this is the play you're working on now right and why do you can can you move it up here in your brain great so like this like this great because it's a turntable right just going around right and the second one can be like right here okay they're both spinning right or maybe right here right spinning they're both in motion they're both in play they're both making progress but this one is the main one that's more of in your in your mind side than this one down here and then maybe next week you're gonna have to maybe switch right right right right also what you can do I have but in my apartment a whole like a bookshelf the thing that I got a key of the key and it has these red like Ben probably get some of your student and I can't and each been it has like ten been each been has a different project okay so I have in the bin is all the stuff of the project and it's on top of the pile of stuff is a piece of paper saying what I'm what I'm supposed to do next and I pull it out and go right I'm supposed to call the guy to move right so I at any point I know where I am it's a project if you have to like you remember just know that this one you want to keep rotating if you want to keep it in play right keep it moving know that it's moving while you're focusing on this one over here right okay and then you can also add to that you can add another one here over here over here up here back here you can add them around your mind's eye and they're all revolving you just focusing on one day then the next one maybe tomorrow whatever you want to switch back okay you really have to watch your mind two minutes anybody with a burning question before Thanksgiving night I was trying to correlate the two together with like Jack Prince and Jaspers right yes yeah because like when I whatever I'm feeling that day is like what kind of project I'll work on so like a comedy in a drama like wherever the space I'm in I have a different project almost that I like to work on in that space but if I don't have a project then I'll start a new one from that space I don't know it just allows you to kind of still work but you you don't have to work on the one project at one time space to kind of still feel the way you want to feel but then work as well right right so yeah exactly Ryan was saying you can work on multiple projects depending on your mood I would just want to put a little founder around that because there's a certain point that comes the time when you've got a fucking finish that damn it okay and so you can't say whoa I'm not the mood you know my ears go live you haven't finished that you know so there's certain time you have to press forward like we're talking press lead into a little bit and be a professional and finish it so there's that there's that too but that's for anybody else really quick I wanted to say something to you yeah I don't know if you've heard of spatial sequence synesthesia no but I have synesthesia but I have to grab colors and see yeah anyway it's like about how your mind works and like how you can organize there's this kind of synesthesia where you organize stuff in space and relationship it reminds me a lot of what you're talking about might be interesting it's called spatial sequence synesthesia it's like people place things at different distances from them in their minds I in order to like this is how these people organize their whole thinking right well that's great well that's probably what it is it's a real thing I have it's organized by colors like how my mind but this is like organizing space it's called spatial sequence synesthesia I think I thought it might interest you no that's great that's awesome just a little like there's one there's a form of that where music can turn into color in your head yeah there's a composer named what was a composer named Olivier Messian I think and when he was a child he used to think that they lowered the lights over the orchestra so that the audience could see the colors better yeah if he would conduct his own symphonies and he'd say things like gentlemen please bluer bluer that's what we need and no one understood what he meant Olivier Messian I think I have no idea how to spell that it's French it's French we're going to say happy Thanksgiving there's a lot to be said before yeah and thank you guys


Hi everybody it's Sam at Mixed Up Craft thank you for watching today. So I've just condensed down one of my Facebook live videos where I showed you how to make this art wreath.  So it's a really nice thing to kind of kill an afternoon and the inspiration actually came from the new or the latest it's not the latest now because there's another one out but it's the Papercraft Society Kit and it was by the B Crafty Girls so it's very much a mixed media style kit. So it kind of you know pushed me out of my comfort zone a little bit and to create something different to what I usually do. So before the live I coloured you know or painted all of these bits and pieces around the house and I'll show you those again in more detail and then I also grabbed this embroidery hoop and I just covered that with some white acrylic paint you can use a gesso. So what I'm doing right now is I'm just covering the back of the embroidery hoop so I have a bit of a base. Now I'm using two separate sheets of paper I would recommend that you use one piece but because I was using the kit I wanted to use everything in that kit so I've pulled out the papers in there so although I've got a join that's going to be completely hidden you don't end up seeing any of that but you can see now I've just kind of created that background. So if you do want to watch the you know the detailed the full length one then I'll share the link to the Facebook live that I done and you can watch that but I am interacting with other crafters so there's more talking you know but it is fun and if you haven't joined in on any of the Facebook lives then you can have a look at them through that link as well. So in the kit we had these butterfly stamps there's lots of other stamps as well and we've got these ink pads you can see the three ink cubes there at the top so I'm just using the hot pink I wanted this whole thing to be pink I love pink I love orange I love teals and turquoise those kind of colours so I'm just stamping out a few here they stamped really well and they have some beautiful detail in these actually you get a dye to cut them out as well which I'm just kind of laying down there and I made a little template actually to do that just to make sure that I get a really nice white border around all of those you also get an embossing paste which you can just see I'm showing there I have actually made my own embossing paste as well there is a recipe for it if I remember to link it in this video I will do so again if you do want to create something similar you don't need the kit to make this and once you see what I've done and if you do want to check out the embossing paste recipe then you'll be able to you know do your own thing with that as well I've also just compared the size because it was a really large size tub that we received in the kit so I just brought in the Nuvo embellishment mousse there just so you got an idea so I've cut my butterflies I'm just giving them a little bit of shape so they're already now for me to attach they're actually the last thing I end up sticking down because I want them to stay white I didn't want them to have any kind of sprays or anything on them so now we also received some stencils in the kit so I'm just picking out it's quite a damask very ornate style one here again it's out of my comfort zone these aren't the kind of stencils I would generally go for but I think when you start to maybe use them in your style and your colors then you can really create something nice so I'm just laying it down in the middle there and then I was looking at the other large one I wanted to use the butterfly and that's when I started talking about my other embossing paste which you briefly saw there so I just laid down and originally that was the cube the pink ink cube just onto my medium out there just so I could you know do that stencil now I'm just laying some more down and then I'm going to mix it with the embossing paste it was a lot more of a runnier embossing paste it wasn't one like I'd used before I was just trying to get quite a deep pink color so I was a little bit unsure about it at first but actually it's turned out to become a really really lovely medium I really like it because it ended up resisting against anything that I threw at it so it really did keep it shine and you'll notice that and I don't know how well the pictures will show up at the end but it was just really nice and I made sure that I kept that little bit of that butterfly visible throughout the whole of the you know this kind of process so you do see it right at the very end so I've just kind of mixed media it's you know a lot of it's about building up your background it's lots of layers before you end up sticking down you know you're the really the main things you see because a lot of this you don't see you only see a very small amount of the stencil I bring in some embellishment mousse in a moment you only see a little bit of that so it's just but it's just building that background so this is just some mesh that I've got in my drawer like I said I've got a drawer just full of really random things bits and pieces and bits of fabrics and stuff like that and it's great for mixed media projects so here's the embellishment mousse this is just one of the Nouveau ones but it's got a lovely shine to it so it looks a bit of a hot mess at the moment and during the live people were kind of you know commenting saying what's going on now what's happening you know if it's not things you're familiar with it you do you get to a point I think sometimes where it just does look a bit horrid dare I say but you kind of need that process to then it's it's building that background like I say so a lot of this gets hidden so now I'm starting to bring in all of those pieces that I've painted and I just raided my craft room just pulling out bits and pieces the paintbrush there was actually one that had had glue on it and I forgot to clean it and it had gone stiff so I just threw it in this bottom drawer and when you paint it and then add it to something like this it it's that's why I'm calling it my art reef because there's a really creative it's full of things that I enjoy I've got three wooden words there so we've got smile happy and create and it made you know it's all of those things that's how it made me feel happy I smiled and I was creating and it's it's an art piece that's going in my creative space so but you know lots of people there's some fantastic mixed media artists on YouTube and they have their blogs on Instagram you know follow them because they make incredible things so I'm just using my hot glue here and I'm just building up a really nice kind of scene so I've got a pencil that I've painted the paintbrush there's some leaves that I painted that are the bottom piece there's a crochet flower that I was given that bow was just in one of my you know my bow kind of jars but once I painted it with the acrylic white and it dried it's really stiff and it became a really nice embellishment and I've got a heart there which was one from one of the dovecraft kits or you know collections that they have there's a little lace butterfly that I've used a peg I'm a little bit off the camera because it was alive so I actually had my phone camera which was you know making sure everything was really in shot so it's always a little bit cut off in this but I still think it works and you get a good idea of what I done and you can like I said just check out that link below so just put my box in here and this is when that you start to get messy so I put some gloves on and I'm just using these are the cosmic shimmer it's the ink spray mist so it's a beautiful pink really is love it's a real like bubblegum pink but if you go you know you kind of let it dry in between layers you can get a much more intense colour so I'm just kind of using a stencil brush here just to really get in all the gaps there and just make sure it covers and then I start bringing in this fab orange the orange and the hot pink just looks so good together and again it's very much my style my character and it suits my craft space so you know it's a great way for you to you know make something that's going to suit you there's a little paper clip in there as well so I just yeah just started drying it and really having some fun letting the kind of ink kind of you know fall into all the cracks so it's nice and dark in some parts I end up actually at the very end and you'll see it in the photos is I add glitter to the top of the paintbrush just to the top where the bristles are and it look really good so then I'm coming to the end because it was getting late so I just brought in some of my rub-ons they're just a gilding wax just to create some highlight but after this I end up going over with some white and you'll see that better in the photos at the end which I'll be sharing but it's just it's a great way to just lift everything the create the smile and the happy I could see they were still a tiny little bit lost but they because they were raised they had a little bit of a shadow but the create there you can see it's completely lost on the paint brush but in the photos I ended up going back in once everything had dried I left it overnight and I came in with some white and it just really lifted all of those words and you can see that now in the photos it just looks really good I finished it off with the butterflies I added glitter I sprinkled glitter all over it as well and I actually used one of my Tim Holtz glitter sprays as well and I just love it it's just a really nice fun thing to do something to get you out of your comfort zones you know you've kind of lost your mojo a bit do something really different and just have a bit of fun with it so yeah don't throw away all your bits and bobs just keep them because you never know when you're going to use them so I hope this has inspired you and for those of you that made yours they were fantastic and thank you for sharing them on the mixed up crafters facebook group and I'll be back very soon with another tutorial take care bye