This is the first time for trucking illicit goods and counterfeiting the mainland of China and I'm here at the focal point for Middle East and North Africa for two reasons. Actually, first of all, that's to build this dialogue between experts, low-unfortunately experts from the police and customs in China and low-unfortunately in the Middle East. Secondly, to build this wage of cooperation which starts from China to the Middle East. We have here a representative from Dubai Police which is one of the most active low-unforcement in the region. There is many cases to be handled between China or, let's say, Asia and Dubai as free zone and for many, many vessels loaded with many, many products and either legal, either counterfeiting. So this kind of joint cooperation and joint effort will build this kind of rig that we are rigging for. The experts here are trying always to benefit, to get benefit from what Chinese police have. They were also at value from their own experience, their national experience for what the Chinese are doing here. We are very glad to be part of this training as the Middle East need to join its effort with China or Asia and South Pacific region and I'm sure that will lead for a very positive and good result in the future.


Thank you, Cassie, for that warm welcome. I know the High Commissioner is not here tonight, but he, and I'm going to happily steal one of his favorite lines in talking about Canada and India, one of the reasons we are such good friends, Canada and India, is that we are the two largest democracies in the world, one by population and one by size. And I think that pulls us together tremendously right. I want to begin by thanking all of you on the Canada-India Business Council, all its directors, all its members and staff for bringing us all together this evening. I'd also like to acknowledge one of my colleagues and friends who's here with me tonight, Canada's Minister of International Trade, François-Philippe Champagne. Thank you again, thank you again for welcoming us both here on this very special evening. These are events that I'm always happy to be part of, because the central message of Devalet is a message I think more people need to hear. We need to be reminded that light can and will triumph over darkness, that knowledge and hope are powerful and effective ways to counteract ignorance and despair, and that at the end of the day, evil doesn't stand a chance when it's up against all the good in the world. It's so easy to be cynical. The news cycle encourages it, and sadly, so do some politicians. But I believe that when people come together for celebrations like this one, people of diverse communities, all working towards building a more prosperous and peaceful world, that's when I know we're on the right track. Devalet feels especially meaningful this year on the 150th anniversary of Confederation and on the 35th anniversary of the Canadian Charter of Rights and Freedoms, a document that enshrines the fact that Canada, unlike just about any other country in the world, but India perhaps comes as a close second, is a place where we understand that diversity can and must be a source of strength, never a source of weakness. As Cassie pointed out, it's also a significant year for India, which celebrated its 70th year of independence just a few months ago. And this past July, just up the 427, the Bab Shri Swaminarayan Mandir marked its 10th anniversary at an event I had the pleasure of attending. For many people, arriving in Canada through our largest airport, that magnificent building is one of the very first sites they see. How appropriate. I think it speaks volumes about Canada and about its incredibly strong and vibrant Indo-Canadian community. And now, thanks to the joint efforts of Canada Post and India Post and the two new stamps that celebrate Diwali, people around the world will be able to see how important the Hindu, Sikh, Buddhist, and Jain faiths are to Canada. The contributions that these communities make, that the more than 1 million Canadians of Indian origin make, are seen everywhere, in our colleges and universities, in our hospitals and in our courtrooms, in cultural industries, like music and film, with some Bollywood blockbusters being filmed right here in Canada, even in sports. I'm not just talking about the Punjabi edition of Hockey Night in Canada. The links that exist between the Indo-Canadiens, their friends and neighbors, especially in my own papino circonscription, are from our cities, big or small, the most pleasant, the most dynamic and the most animated. Naturally, we can see that you also bring important contributions to the environment. As entrepreneurs and business leaders, you are helping strengthen Canada's connections to India. And it couldn't come at a more important time. As countries around the world turn inward, as they fuel skepticism about trade agreements and grow more anxious about their borders, there is an opportunity for Canada and India to forge an even stronger relationship, one that will benefit the citizens of both our countries. That's a point I've made many times to Prime Minister Modi on the various occasions we've had to speak and spend time together. We've shared many priorities. Both countries want to protect and improve our strong democratic traditions. In Delhi, as in Ottawa, finding ways to strengthen and grow the middle class is a constant priority. And as you know, one of the best ways to do that is to expand trade and investment. That's why we're continuing to work hard on the Comprehensive Economic Partnership Agreement and the Foreign Investment Promotion and Protection Agreement, because we know that progressive trade deals can create more good, well-paying middle class jobs for Canadian workers and Indian workers. Done properly, these agreements can also create the conditions for things like better labor standards, greater gender equity, responsible management of natural resources, and stronger environmental protections. Building stronger trade relationships between Canada and India has been a priority for our government since day one. Seven of our ministers have visited India in the last two years, and we're gearing up for another mysterious trip in just two weeks. Happy to announce, and I introduced François-Philippe earlier, that in mid-November, he will be joined by our Transport Minister, Marc Garnaud, and our Minister of Innovation, Science, and Economic Development, Navdeep Bains, who together will head up a business delegation to the Tech Summit in Delhi. It will be a chance to showcase our expertise, your expertise, to business and political leaders, and I'm confident that it will lead to many productive partnerships down the road. We're already well on our way. More than 400 Canadian companies are present in India, and more than 1,000 are actively looking for ways to enter the Indian market. Our bilateral trade exchanges of the merchandise reach almost $8 billion last year. Our respective countries continue to increase, and opportunities are better than ever before. Before I finish, I want to once again thank the Canada-India Business Council for bringing all of us together tonight. Canada and India have a long history together, and I believe that an even brighter future lies ahead. I hope you will continue to work hard to help businesses in Canada and India form stronger partnerships, because I promise you, our government will do the same. Thank you, Diwali Mubarak. Happy Diwali, Shubh Diwali.


Hey everybody, good morning. Now that I see that there's at least two people watching, I know there's somebody watching besides me. So as you can see, I got another watercolor set. This is by PBO and company that all of us mixed media YouTubers have been introduced to by Patty Tolly Parish among others. They do some fabulous metallic paints and iridescent paints. I was unaware that they did watercolors until I was googling some of these palettes to use for the watercolor Wednesdays. And when I found out PBO had a palette and it was round, I had to have one. So I saved up my pennies until I could afford it because it's not inexpensive. It costs about $45. I got it from Amazon. So I had to save up some money for that. And we I think are going to swatch it this morning. I'm not going to do it in the color in the review book, but I do need to make a color key. So I thought that we would do that this morning. I also went back to my local tap plastic store and you can find out more about them and their locations by going to tapplastics.com. This is their card. And is it just me this morning? Or I think it's kind of a little bit blurry. I don't know what's up with that. Maybe it's just me. I'm going to put the web address in the chat. There's a reason we're talking about tap plastics. Whoops. Hold on. Autocorrect.  I swear to God. Oh, see, it's not just me. And I'm getting an error posting a message. Why is that? Okay, that is weird. I'm not even able to post something in the chat, which is odd. Maybe because I'm well, no, because I'm watching on a different account. Okay, that's weird. It doesn't want to let me post. Oh, there it now. Yeah. So it doesn't want to let me post from the iPad, which is odd. I'm wondering if I should come out and go back in again. What do you guys think about that? Or should we just live with it? Hey, you know what? We're going to just live with it. We seem to be slightly out of focus this morning. And I'm not exactly sure why we are slightly out of focus. The webcam is working fine. So I don't know. I'm playing with the settings. Hang on a second, guys. That didn't help that made it worse. I don't know. We'll just leave it. So anyway, so there's a reason we're talking about tap plastics this morning. And good morning, everybody. First timers. Good morning, Kristen. Home school, Mama Four. Maria, Lisa. Good morning. We're slightly out of focus. I don't know what's going on with I don't know. I don't know. I'm leaving for vacation tomorrow. I don't know. I put the address for tap plastics in the chat feed for a reason. So a lot of people, hey, Sana. A lot of people asked me about my round palettes a lot. Specifically last week, we were playing with, hang on, let me get it. We were playing with the twinkling H2O palette, which is a round palette on a Lazy Susan. Now I have round palettes that I've purchased. There's a great company called Robax, R-O-B-A-X. They make a round palette that's fabulous, but it's very expensive. And I love their round palette. I own one, but I wanted to figure out how to do another one less expensively for my twinkling H2Os. So I went down to my local store that sells all things plastic and acrylic, otherwise known as tap plastics. And that's where I got the parts to do the original twinkling H2O palette. So I thought I would go back over there when this PBO palette came in and look for another Lazy Susan piece and maybe chat with them a little bit, find out some information and get some more parts so I could show you guys what I did. Now the first time I made the twinkling H2O palette, I velcroed and or glued everything together. This time when I was chatting with the guy, he had these little, they're sticky back, they look like sticky back flat back gems.  And this, they sell these acrylic Lazy Susans at Tap Plastics in different sizes. I got a little one for working with the PBO palette and I stuck some of these feet to it in equal distances apart on the top of it. And so when I put the PBO palette on there, it doesn't slide. This, my whole table is moving and this is not moving, but at the same time works great. The small one is nice because look what fits on here. All right. So and this one, this was $2.30. So it wasn't expensive. And this one's about four and a quarter inches across. Yeah. Tap Plastics is only on the West Coast, but if you go to their website, which is why I posted it, they do seem to have an online store. So you not only can check to see if they have a location near you if you're on the West Coast, but you can maybe order stuff from them or maybe you can look at their website, see what kind of store they are, get an idea and see if there's something similar in your neighborhood. Now the one I used for the Twinkling H2O palette was one of these big jobs. This was $7.25. And this one's nine inches across. And then you can use the same little silicone feet on here. And then you just need a clear plastic plate. Now I did get this from them. These clear plastic rounds are a little bit pricey. This is $12.85. It's still cheaper than the round pallets from Robax, which I love again. I can't say that enough. I love their pallets. Their pallets are really expensive. This altogether cost, you know, around $20. And the Robax palette costs about $100. So big price difference. You of course could get a Lazy Susan from somewhere else. You can get them in the kitchen department at, you know, any big box store, Target, Bed Bath and Beyond, and then use something flat and sturdy, a plate maybe, and create a round palette. I like these silicone feet because you can use the Lazy Susan for other stuff and it's not stuck to the bottom of your watercolor palette. So when you have limited space in your studio, you can get more use out of the Lazy Susan by using it on other things like your paint, your paint palette plate, than just your watercolor paints. So that being said, that's my little lecture about round pallets. But they were very nice. They gave me the little feet. I told them I'd give them a plug. I shop at the Blossom Hill Road store in San Jose, and they're very, very nice there. And like I said, it's a store that only sells things that have made out of plastic and acrylic. That's all they do. All right. So we have this round PBO palette. Yeah, thanks Theresa. Okay, so I don't know if you guys want to watch me do the swatches and see what these colors look like, or do you want me to do a painting this morning? There's a bubble under the sticker on the label. It's driving me crazy. I just leave it alone. All right. So if you want, we can do a painting. The PBO palette does come with a travel brush and this has 24 colors. So this is a nice little palette. I haven't swatched it yet or done the color key. So I don't know what the colors are like at all. So I'm going to pull out both. Let's do a painting first, and then if we have time, we'll swatch the PBO palette. How does that sound? We can just see what watercolor palettes we have out already. This is Prima, Windsor-Newton. I told you guys I'm very much distracted today because, you know, I'm leaving on vacation. I take that back. We're going to we're going to swatch this and then we'll play with it because I have, I just got inspiration. All right. I need my reading glasses for this because I can't see the little labels. So the first thing, of course, that we're going to do is write all the colors. I'm going to start over here. I'm going to get out my carbon ink pen because this one is waterproof. And a lot of time with these little pans, like they're not marked on the pan, only the super expensive fine art brands actually mark the side of the plastic pan with the color name or number. Lots of the other brands don't do that. It's a big pet peeve of mine.   So I've got deli paper right here. So I'm going to stick them to the deli paper or wax paper. I like the master's touch brand of brushes and stuff and paints. I think they're a good value for the money. You know, again, like I'm always telling you guys, if you're buying a less expensive brand of paint and you're not sure if it's lightfast, make sure that you scan any work that you create with it that you really love for posterity because if it doesn't say it's lightfast, it probably isn't and it's going to fade. I'm having trouble getting this one label off. Of course, you know, just because I'm on camera and I'm trying to save the label. Yeah, definitely paint with them. I love the lesser expensive paints. There we go. Especially if you're just doing, you know, cards and stuff with them. I think that's fabulous. You don't want to spend a ton of money on paint if you can help it. And even Jane Davenport put a blog out. Okay, I have to say this little, the round pellet's a great idea, but this thing is fiddly.  Pardon my French. Once this is set up, I can, I can see that this, I would like this, but okay, let's see, dark cadmium yellow. So I started here with this yellow because it's next to the Chinese white, which is obviously a color that you'll be able to recognize. So you'll know where to start when you actually are doing the painting. But this is, this is one of my, I love my watercolor paints. And a lot of the super fine art brands come wrapped like this. They all drive me crazy unwrapping them makes me completely nuts.  This is a PBO here. And we're fiddling with getting the paints out, but they're making me crazy.  Just FYI. Does anybody have any questions while I'm unwrapping? There is some good colors in here. Now you could, I already thought you could take your little pans out. And you know, you could put magnets on them and stick them inside the tin and you could actually fill the tin up with a lot more paint from other, maybe other favorite brands. Now this palette was, like I said, $45, so it wasn't the cheapest palette I've ever bought, but it wasn't the most expensive either. I got it on Amazon. There are 24 colors in the palette. I like the fact that it's round. It's packaged in an interesting way. The paints have gotten mixed reviews. We have White Night coming finally and we have, there's another one. I can't think of it right now. Now the pen here that I'm using is a carbon ink pen. I got it on Amazon. It's waterproof fountain pen. Hey, Lori, how are you? We're not doing anything exciting yet.  I should have done it off camera, but oops, spelled that wrong. That's okay. I don't have, you guys don't have to read it. I only know one. It has to be able to read it. Oh yeah, so many people are moving right now. We're out of work. I know so many people whose husbands are out of work. That's not good. I don't know if you guys all saw my post on Monday, top of everything else that's going on this week before we leave.  My husband shattered the screen on his phone. So I have to go pick up the new one today. He's so annoyed with himself. Good thing we had insurance. I haven't moved in over 20 years. So when I do finally move, it's going to be a gigantic deal because I, although I've been trying to purge, I have way too much stuff. So I would definitely recommend taking this plastic liner out to do this part. Yeah, the reviews that I've seen on Amazon and other sites were mixed. So we'll see. I, oops, I really haven't met too many watercolors I don't like. So yeah, see 30, when you've been someplace like 30 years, 20 years, Lisa, moving is a huge deal. When we finally do move, it's going to be, oh, it's going to be a problem. Paul, that's not how you say that, I'm sure. P-H-T-H-A-L-O-C-Y-A-N-I-N-E. Green. Seriously, they couldn't come up with a better name. I know that's probably the pigment, but holy moly. These are a pain to get out. I gotta tell you. I've said that. I've said that preferably. I've said that a few times and I, I'm a, I'm a homebody, Lori.  My glasses are getting fogged up. I don't do change or spontaneous well. Okay, what is this one? Yellow ochre. There is a good selection of colors in here and we'll know in a minute if you know what we think of the colors, how well pigmented they are. Somebody, a couple of the reviews on Amazon said they were chalky. Okay, these are like the hardest paints to get open. That's probably one of my, going to be one of my problems with these paints. Yeah, I'm right there with, yes, not a big fan of change.  It helps me keep the anxiety in control. Change is conducive to that. Yeah, the packages, these little, I know why they do them this way. Some of them are much easier to open than others. These are not easy.  I'm having a hot flash but I need to put these back on because I can't read that for a number. Yeah, you're not the only one, Laurie. That's a scary thought now since we're all on YouTube. You've got to be careful. So this pallet even has a sepia pains gray as well as black in it, which I love that. Again, we'll have to see how much we like or don't like the paints. Yeah, we'll still be here because I'm trying to get the paper off these paints. For those that don't know, I'm pretty open about the fact that I have anxiety disorder. If there is such a thing, you can probably consider me borderline obsessive compulsive. I have a reactionary attitude towards things. It's not necessarily always the healthiest thing on the planet. I have my fair share of issues with depression, which would be why I'm not a size two because I have a tendency to eat my way through not how I'm feeling. And my husband and I both are creatures of habit, but he's very much better at doing the whole spontaneous thing than I am. I'm not always so great with that. When he's not with me, it causes me anxiety issues. I'm not great at spontaneity. No, especially after we've been metapausal, right? Because losing weight is a pain in the neck. Literally, it's hard to get it off. It's like super glue on your fingertips. It's just not good. All right, I'm just going to push all these down. All right, shall we see what happens when we spray it? I did get a new bigger spray bottle. When I was at TAP Plastics, they sell the bottom parts separately, and then they have different kinds of tops. Yeah, I have control issues. I have had, since I was little, my mother could tell you about them. Yeah, it's always been an issue. I don't ever remember not having them. Some of my issues, as we call them, disorders, whatever you want to call them, it seems like I've always had them. I don't really know any other way to be. So this is just for watercolor. And I got the bottom, and then they sell the tops, different kinds of tops separately. So I got a bigger one, because the other one was too little. And I did put some Oxgall liquid in here to aid the rewetting of the watercolors. And I labeled it. See, I labeled it. Control issues, right? Everything's labeled. All right, so let's get this wet. Now we can get some color. Yeah, I like plan. Plans help me be less anxious. Without a plan, it's just not pretty. So again, I'm going to start with the yellow that's next to the white, because that gives me a good place to go where I won't get confused about where I'm at, what color I'm using. So this is primary lemon yellow. That's nice and bright. Let's see if I can move in just a little bit. So I know from personal experience that I need to be as organized as possible. It helps with the anxiety and have things planned. At least one of my sisters also has anxiety disorder, and she's worse about it than I am. Now this one says dark cadmium yellow, but that's a really nice pale orange color to me. This is just says orange. This is going to be a pretty palette when it's done. This one is primary red cadmium. They're more opaque than other watercolors. I will give you that. They're not super transparent, at least not so far. This is permanent rose. That's a pretty color, but I don't mind them. Unless I'm doing something like this on camera, I don't generally use just one brand to paint when I'm creating a painting. I use multiple brands, so I could definitely see using these with other ones. Even my art room has to be organized, or I have a problem with that. This is alizarin crimson, and then we have violet permanent. That's a pretty purple. The problem is with the control thing, and the organized, and trying to keep your anxiety issues and stuff under control, is that as a supervisor, I'm no fun to work with, because I like everything to be in control, and I have trouble delegating. So I don't think that's necessarily true, Teresa. I think that it depends on the brand. So one of the benefits to really saving your pennies, and buying a really good brand of watercolor, like Daniel Smith, Schmincke, Sennelier, is that you can be rest assured, except for a few colors. Their products are light fast, even if they're not, you know, even the lesser colors are a little bit light fast, and they're going to last a while. I'm losing track of where I'm at. With some of these other paints, you just can't be assured of that. Prima says that their paints are light fast, but I haven't seen any evidence of that. Now I'm, hold on, one, two, three, four, five. Let's do this one. Okay, so now I'm a big fan of scanning your art and using whatever your budget will allow, and then if things fade, you have original copy of it. Yeah, you need to fix that, Laurie, because that's going to cause you more issues than not. I have certain places where things go and they stay there, and when I put them away, they go back there. I am constantly revising how I do that, and I label everything, and when I reorganize everything, I label it again. This is their indigo, which is a really pretty color. Yeah, no, I don't. As a supervisor, I was very organized, and things were done in a timely manner, but I had trouble delegating, and I wasn't always nice about it when stuff didn't get done on time. I have no patience. I have the patience of a nap. I swear to God, on a good day. I don't mean to be annoyed with people, but yeah, you will be much happier if you can get your creative space organized in a manner that works for you, where you can go and retreat to and it's not messy. It'll give you a break from the chaos that is the rest of your life or your house. I know that's the way it is for me. When things get chaotic, I come in my office. So that's their sap green. I really like that color. This one says earth green. I don't know what that means. Oh, it's kind of a brownish green, a grayish green. So Jane Davenport advocates, like I do, scanning your work, scanning it no matter what kind of materials you've used or taking a photograph of it, and she doesn't honestly too often sell originals, and I actually don't either, and I didn't realize that until I was reading her article. Not that I'm opposed to selling the originals, they just, people would rather buy a digital copy. There's advantages to that because if you have used something that is not lightfast, then you don't have to worry about it fading on the customer. Some materials though, now like neons, especially some of the neon like gel crayons, they don't photograph, or they don't scan well. So you have to photograph them. For whatever reason, the neons do not like computer scanners. I'm not sure why that is. Maybe somebody out there does. I don't, and I don't honestly have the patience to figure it out. Counting. This is the sepia. Oh, that's a pretty color of sepia. Dark blackish brown. I like that. This is a pretty palette. The pigment load looks great. They're nice bright colors. They're starting to dry a little bit, so we'll be able to go back and see. Here's the Payne's gray. So some Payne's gray, depending on the brand, is more blue than other brands. Golden's Payne's gray is very blue. It's like a dark navy blue. Most of them are more like this, where they're a dark, like translucent gray color. Here's their black, which seems to have like a little bit of a brownish tinge to it. When you put it next to the Payne's gray. Yeah, sepia. I love, this is a pretty sepia color. This is, I'm going to put the white on here, but you're not going to be able to see it. It's just, it's Chinese white. So that's a pretty palette. And they're drying, they're more opaque than I'm used to with some other paints. But I'm okay with that. And I can see I'm using these in conjunction with other watercolors. Try, is the screen unfrozen? Hopefully. I don't want to go too far with that. So I thought we would work on, okay good. So I thought we would do, the last couple weeks we've been doing different versions of the same photo whenever we do a live broadcast. So Monday we did acrylic version of these flowers. And I thought today we would do watercolor. These flowers, I don't know what the name of this flower is. It was on a flowering bush at my brother-in-law's wedding. And I was bored as I get bored, I get bored easy. And I was walking around taking photos with my iPhone. And the original flower is like cream and green. And when I printed the copy of the photo, my printer was low on ink. And I happened to by accident get these purples and blues. And I loved it so much, I did an acrylic. So I thought we would try doing it in watercolor today. If they rearrange the table a little bit so that we can get the book on here. Whoops. Okay. So this is the watercolor journal, which I'm going to have to zoom out of it. Otherwise you are not going to see what I'm doing. This is my watercolor journal, which I've been doing lots of experiments in, using it sort of like a field study notebook kind of thing. Hey Victor, how are you? So we're going to look for a blank page here. Some of these are great. Some of them not so much. When I get back, I'm going to photograph some more of these pages and or scan them and make some more postcards. So these are all just experiments with paints and different kinds of paint, different techniques, some successful, some not so much. Here's one of our four part experiments. Same painting with each section done with a different kind. We've done a few of those. This is the one we did last week. Let's see. Oh, there we go. So now we have a space over here. Thank you. There's a couple of them that are, they're not horrible, but all right. So I need a pencil. Thank you. Okay. So the first thing we're going to do now that inspiration photo for this is on my website. You can download it for free. GinaBEarons.com. There's an inspiration photos page and it's in the original colors. This is accidentally, you know, like I said, printed in the wrong colors. I take my phone with me everywhere, like most of you. I use it to take inspiration photos a lot. I get distracted at events taking photos of things to the point where I knock people's wine glasses over unintentionally. I'm a danger to myself and everyone around me normally. In this particular instance, I was walking around the venue and I found this in the garden. And I happened to catch a little bug on here too, but that was an accident. But it's a, it was a very interesting flower. So the first thing we're going to try to do here is, yeah, well, maybe. Okay, so we're going to just sketch out our shapes here. Just roughly rough sketch, loose pencil lines, no digging any holes to China. I'm not looking to erase them later. And I probably, that's probably a different disorder or something. I'm probably anti-social. I don't know. I don't know. I like people mostly. So when you get pictures like this, you're looking to, you know, use the photo for inspiration. You're not looking to copy it exactly. It has all these like seed head things here in the middle. I don't know what they're called. I don't know what this flower is called. I don't, I have no idea. Yeah, well, you know, my issue is with crowds. So I'm not great with crowds. I now know after living with that for years and years that that's more than likely because of the anxiety disorder. You'd think I would have gotten a clue a long time ago because I do have a friend who has severe anxiety disorder. And she's always talking about how she can't deal with crowds of people. And, you know, you just, you're sympathized with your friend, but it just kind of, I don't know, I guess it went in one side and out the other side of my head. I don't know. So sometimes I do these quick sketches in pencil and then I'll put some in in a pen. And sometimes I won't, I am going to erase a couple of these lines because they're going to be distracting. And I'm not going to erase most of the pencil. And before somebody asked me, this is a mechanical pencil sent to me by Maypen Helix. And this is a drafting pencil, a seven millimeter lead made in Korea. And this is a nice mechanical pencil. It has a eraser underneath that cap here at the end. No, I'm definitely not what you'd call a social butterfly. I'm better now than I'm older, but I was definitely a wallflower in school. All right. So now I'm going to add, this is the Pilot Varsity Disposable Fountain Pen, which I love, but this is not Lightfast, this pen. So be aware of that. And definitely if you create a piece of artwork that you love with it, protect it from UV light, scan it, that sort of thing. I'm going to just add a few marks here to the flower center. And I think that's all I'm going to do. Maybe that's all I'm going to do. Maybe that's not all I'm going to do. I can't make up my mind this morning. Okay, I'm going to add just a few lines. There is a sort of a, okay, just like that. All right, we're going to start with a bigger brush. This is a, speaking of master's touch, this is a master's touch brush. It's a number 24 round. It's huge, see? And I'm going to actually put some color in the background around the flower. I'm going to use our color key we just made as a guide. Let's see. Let's do the permanent violet. And I just want a little bit of pigment and a lot of water. So when you're painting and you have something that's white, you have two choices, of course. You can go back in there with acrylic paint or gouache, or you can try to paint around it and leave it white. When you are working with colors that you're not going to let things dry, then you want to leave, it's better to leave a white space. I want to add some of this color around our flower. Yeah, I get overwhelmed really easy, Lori. I sympathize with you very much on that. It doesn't take much for me to get completely overwhelmed with stuff. Now, the pilot varsity is not a waterproof pen, so it's going to bleed a little bit. I'm okay with that. I think there was a piece of my hair stuck in the rag. Well, it's going to have to stay there. Okay, we're going to add a little bit of this to our flower center. And let's see. I want to go with, let's see, prashing blue, which is already sort of a bluey green color. And yeah, you just do one thing at a time. I do the same thing, Lori. So we sound like we have the same problems. You need to just tackle one thing at a time. Anything else is going to completely overwhelm you. This is a PBO watercolor set. This is their round 24 pallet set, Clarey.  And we're working with watercolor. So unlike when I did this with acrylic, you have to start on, and I did it on Monday's live lesson for Monday with DecoArt. With watercolor, you need to start light and work your way darker. With acrylic, you can just add layers of whatever color you want to. That's a little lazy Susan I got at Tap Plastics. They sell them in different sizes. They are a West Coast chain, but you can order from them from their website at tapplastics.com. And you can look around and see if you have a store like them in your neighborhood. Tap Plastics only sells things made out of plastic and acrylic. It's a store like that's devoted to that sort of thing. I'm going to activate some of that pen that's on here. Now if you have an inspiration photo, I talked about this on Monday, that you would like to paint, but you would like to paint it in different colors than the original photo. Print it in black and white or use an app to alter the photo and print it in some different colors. This one printed by accident in purples and teals. That wasn't intentional. My printer was running out of ink, but it was a happy accident. Yes, I am. I like Tap Plastics. They're one of my favorite chains. I had a nice long conversation with the manager the other day when I was in there. And yeah, that was a shameless plug. So this is more of that Prussian blue. Now we're mixed media artists, so don't forget that you know you can go back and add highlights with like something fun like a gel pen or you know there's a million materials out there that you can do that with. I'm doing, what are they called? You're supposed to call it lifting. It's blotting people. I mean you get too much color or water in the wrong place. Blot. So I'm just working on my petals, adding the shadows in the petals using the photo as inspiration for said shadows. I'm doing it with darker blues. Darker and darker blues. I'm using the Prussian blue because it's very turquoisey or tealy kind of color on its own. It's like a blue-green.  So far, I'm pretty impressed. I like their paints. Yes, they're more opaque than I'm used to, but I'm just adding a bit more water than I normally would and it seems to be coming out just fine. Yeah, it's just, I call it blotting. Yeah, tapplasticsalloneword.com. It's a fun store to go into. And if you have one in your neighborhood, you know, maybe a different company, look them up and see what they have.  What is it? Dendritic printing. They sell, and they sell retail displays and stuff like that too, which is how I knew about them because back in the day when I was still working in retail and doing lots of arts and craft shows, that's where I got some of my stuff from. I like that. All right, let's go in with the indigo and we're going to let the flower dry a little bit and we're going to add some varying shades to the background of the flower, like similar to what we're seeing in the inspiration photo, where it's got layers of purple and dark blue and I like that. This is their indigo. I'm liking this indigo. So, you know, if you wait for things to dry more, then you don't have to worry so much about a color bleeding where you don't want it to. I have no patience for that. We discussed that already, didn't we? I have the patience of a nap and putting some dark, darks in here, like just like with any other piece of artwork, whether you're doing collage or acrylic or, it doesn't matter, anything, putting some dark, darks and light lights, make everything pop. We're discussing coffee. I'm trying not to go have another cup of coffee. I've had too much coffee this week. I ate chocolate yesterday. That wasn't good for me. I'm going to, we're going to dry this a little bit and switch to a smaller brush. Who doesn't love coffee? I drink strong coffee with coconut sugar and half and half. Not that anybody asked. This is a Princeton Select or another round. Brushes is a number 12, so much smaller than the other one. Okay, let's go in here and take some of that Prussian blue and then a little bit of yellow. No water, not too much water, just the more pure pigment. Yeah, I try to switch to tea after my first two cups of coffee in the morning, but things have been kind of a little bit stressful lately. Like it sounds like some of you all are having right now like Lori with the move and everything. And so I've been drinking too much coffee. So that's kind of an issue. So usually I switched to decaffeinated green tea in the afternoon. Back when I was working in a computer field in manufacturing, I used to drink, I worked graveyard. I drank a lot of coffee. Too much. I started to get ulcer. So you notice what I did right there, I added the same color to the petal and I left the brush strokes in because it helps it look like the veins in the leaf, suggest the shape of the petal. I'll drink tea or coffee all day if you let me, but that's why I have to have decaf. Not only is it not good for a steady hands, but it's really not good if you have high blood pressure, which I have high blood pressure. All that caffeine is not good for you. So so I'm just rewetting this paint here because I got a little bit too much pigment. I am noticing that it dries really fast, which can be good. Usually when that happens and I go in to try to rewet it, it doesn't rewet well. This one actually doesn't do too badly. Sometimes I'll drink an herbal tea or a flowery tea, not too much. Usually it's just green tea. Okay, there's this little, because I don't know what kind of flower this is. It reminds me of some kind of like orchid-y type flower. There's this little like spotted thing right here on this upper leaf that we're going to try to just go with. All right, so we're going to go back to the violet. Yeah, who doesn't like cereal? I like cereal. So we're just working our way into the darker colors. I'm just touching a little bit of this into the flower. This is the violet and I'm not going to blend all of it with water, but I am going to blend some of it. I'm going to try packing light on this trip, you guys. If you all knew me better, you would all be laughing right now, as I say that. I totally do not pack light. I'm going to try it though. I don't know. It means I'm going to have to do longer while I'm gone, but we'll see. So we'll let the flower dry a little bit and I'll add some of these darker pigments straight off the palette into our background. I like my tea room temperature unsweetened, something I get from the Italian side of my family. We all seem to like it that way.  You have more control over the water, how much and where it goes. These definitely are behaving more like a student grade paint. They're decently pigmented, but they're not, you know, Schmingas or Daniel Smith or anything. I love the round palette. I think the round palette is a fabulous idea, but who doesn't love a good circle? Right? I know. See, right? This time I'm only bringing one small backpack of art supplies. But yeah, you're right. You're not wrong. Okay, we're gonna go in. I'm gonna grab some Chinese white here. That didn't do anything. I don't generally do use lots of Chinese white now. I know why. Okay, you know, I'm gonna just listen to my own instincts. Okay, when I'm just going on a weekend trip and we're driving, I bring way more stuff with me. So this is what I'm talking about with these kind of paintings. Although this is watercolor Wednesday, I'm gonna bust out the white acrylic paint. This is beautiful on its own. And yes, the white acrylic paint will probably blend at least in part with the some of the watercolors. This is titanium white. And this is I'm just using an angle brush and I'm just scrubbing it in along some of the places where I got too carried away with the colors. I'll catch up on the comments in a minute. You don't need to do a lot of this. You of course could do this with a paint pan or a gel pan. There's lots of ways to do this. But almost no paintings in this journal are strictly watercolor paint. Most of them are mixed media. Mixed media doesn't always have to mean lots of globby layers of thick mediums. So good thing you guys can't see my face because actually, I'm concentrating so much. I'm forgetting to talk and I'm painting with my tongue sticking out. Anybody else do that? Oops, this one. Okay, so I'm catching up here. Teresa, I'm not sure I understand that you agree with me and Lori about the tea. And I drink lots of water. I don't know if that's what you're talking about. This round palette is fabulous. It's not too big. My favorite thing about this PBO palette is the watercolors. It's probably the palette itself, the round palette. I love it. And it's not a big palette. It's only about seven inches across. So it's a good size. And you could take the plastic insert out and put more paints in here. Definitely you could. And this, I just cut a piece of watercolor paper to fit inside of here. And then I just drew lines on it. And these are all the colors that are in the palette. There's no like pattern for this or anything. And I don't know how to pack well.  Packing lightly. Okay, so the other thing I'm going to do and I'm going to make sure I don't stick my watercolor brushes and my acrylic brush in the same well because we don't want to contaminate one or the other. Let's get a gel pen. Let's see. Those might be too green. That one might work. Yeah. Oh, there is a downloadable like color wheel stencil. And you should be able to download the file for it on the Watercolor Wednesday page on my website, genabearans.com. If somebody could put the address, I'm pretty sure I remember to stick it on there if I've forgotten. Somebody let me know. But she and my friend Anne Williamson of Annalise Creates here on YouTube made me a stencil pattern for a round color wheel like this. And also there's one with checkers that you can download and create your own stencil. You're right, Teresa. There is one on there and it should be downloadable for everybody. Yeah. Well, I have problems with packing light and issue. There is laundry facilities available on board. We're going on a cruise. So now I'm going to just go over some other parts of my flower with gel pen. I've got this blue color here. We're going to work on these little seed head things in the center of the flower. I've got this blue color and I've got this lighter green color. And we might dab some of the white acrylic paint on them. We'll see how it looks after we get the gel pen on here. You can blend the gel pen a little bit if you do it while it's wet. So definitely don't be afraid to bust out some of those other art supplies with your watercolor paints and experiment with how they work together. Of course, if you're going to go over your paints with pen, you really want to make sure the paints are dry or you will mess up your pens. Guess how I know that? This is PBO. Where's the lid? I'll take the lid away. So this is the PBO watercolor set. It has mixed, very mixed reviews. It's not Prima. It's PBO. On Amazon, not all of the reviews are kind. I'm actually kind of liking them. They are kind of a student grade set, but I'm kind of liking them. I think the color selection in the set is very nice. This is the color selection of paints that are in the set. They're not super cheap. If you're going to get a lesser brand of paint other than a fine art quality like Schmigar or Daniel Smith or one of those, certainly Koi is a little cheaper, but these PBO are nice. I don't remember if they have any light fastness or not, to be honest. I just kind of assume that if it doesn't stay on the tin somewhere that they probably don't have much. I'm highlighting some of these shapes with some titanium white acrylic paint to make them pop. I love their metallic paints and their acrylic paints, and I know they have like fabric paint and inks. Every paint of theirs I've tried, I've liked, so when I found out that they make watercolor, of course I had to have them to try them. And they're not bad. I mean, they're not Daniel Smith is still my favorite. Somebody asked me that the other day. Daniel Smith is still my favorite, but these aren't bad. I mean, I really haven't met a watercolor paint I don't like, but the metallics, their PBO metallics are fabulous. I was hoping there was maybe a couple of metallic colors in the watercolor set. That would have been great. And there's definitely room to add more paints in here. I don't know if they make more colors or not. We're going to have to do some research. So that's pretty good. I like that. So let's see, clean up some of my I shouldn't say clean up, move some of my mess here. Here is the inspiration photo that we're working from. And this is just, somebody missed it. This is a small lazy Susan that I got at Tap Plastics, which is a local store on the West Coast that sells just plastic and acrylic stuff. And they have these lazy Susan's in different sizes. They're inexpensive. This one was $2.30 and I put some little silicone feet on top of it, sticky feet, so that the PBO palette will stick to it and it doesn't slide off. And I can, you know, so here's the photo. Now the photo is available for you to download and paint from on my website, GinaBeeEarons.com, there's an inspiration photos page. And this is the painting we did from this. And let's see. This is the acrylic paint painting that I did on Monday from the same photo. Oh, thanks Victor. I'm just playing. I'm just playing. I do like the way this turned out though. And you know, I know you guys want to learn more about watercolor. That's why we have watercolor Wednesday. But I can't emphasize enough two things. Remember to play no matter what medium you're using. Remember to play and have fun. And we're, for the most part, all mixed media artists. So don't feel like if you're painting with watercolor, you can't use other stuff on that painting. I love leaving the pencil marks like I did here and putting in inks and adding acrylic paint or gel pens and all of that stuff. So I think that you should play and have fun and, oh thanks, play and have fun and don't be afraid to mix up your mediums. D, I have lost track of, at one time, I had a whole bunch of people send me photos and I've lost track of which photo is yours. So if you can set it to me again, we can work on a painting from that photo maybe next week. Or not next week, maybe when I get back from vacation. And thank you, Kathy. I'm glad you love the stamps. There's also a lot of digital downloads. So because I use lots of mixed medium things in my work and not all of it is lightfast or archival, I frequently photograph or scan the work and then I sell the digital copy. And there's lots of digital downloads available on my Etsy shop of things. I just caught it up yesterday. So you can buy for a couple bucks a digital copy of a photograph that you want to use in your artwork. Oh, paint my photo. Oh yes, I have used paint my photo. I don't have to go to their site too often unless I read that wrong. I'm sorry. See, I'm truly like this whole week, I feel like I'm just half asleep. Anyway, I have so many inspiration photos. I don't often find that I need to go to paint my photo for something unless I have a client that's asked me for something specific like say a giraffe or something like that. Then I go to paint my photo and see what I can find. But it's a great site to find photos. There are a bunch of free ones on my website that I've taken and or I have permission from the photographer to post. Most of them I take. There is also a folder that we are an album that we're creating in my Facebook group that yes, it's okay to post. For my Facebook group that's an album of inspiration photos that we're creating. I just created the basic album last night. While I'm gone on vacation, I'm asking everybody to put their inspiration photos in that album. When we first started Watercolor Wednesday, Teresa, we did that with salt and rubbing alcohol and etc. We can certainly revisit it. I think that's a great idea. I often, when I'm painting, forget to put in additives. I often forget to drop salt in or alcohol. Sometimes I do, but I don't do it a lot. But we should revisit that because I have done that. I do paint my photo. It's a great site for free inspiration photos. I think that if any of you are out there looking for photos of things to paint, go over to paint my photo and see what they have. They're royalty-free images so it's a great resource. You don't have to worry about getting nagged for copyright infringement or anything. Definitely put the link for the round base. This is the small lazy Susan that I got to fit on the PBO. You know what? Maybe it's because of me. Is it the plastics address, Clary? Oh, you know, that's probably why I won't let me either. It's because you're not an admin. I'm watching from my other account. I'm not an admin to my own channel. Let me hang on. Let me do it again. I have to spell it right. Hold on. That's the website for the company where I bought all my little acrylic pieces. You, of course, can get lazy Susan's at Target, your big box stores that sell kitchen stuff. In the kitchen, usually the kitchen section or the kitchen organizing section, usually they're for pantry closets, but frequently the ones for a kitchen have a lip on them. I wanted one that was flat and I also like that they have them in different sizes. They have from little itty bitty to actually, they had one that was bigger than this. Then they also have the round acrylic pieces of plastic that you can put on top. The silicone feet are nice because you don't have to glue everything together.  Put any links that you guys find that are helpful on the Facebook group. Or PM me so that I can or one of the other admins can. That's it. Playing with paint. Before we leave, I want to remind everybody I am going on vacation. I'm going to be gone from the 12th to the 22nd. My admins are taking care of the Facebook group. Everything else will be on vacation. YouTube does have pre-scheduled videos. Some things coming out while I'm gone. The live broadcasts are suspended until after I get back. We will resume them on the 23rd with a Monday with DecoArt.  This is pretty now but it was ugly. So we'll be working on more of those and hopefully I'm going to come home with a boat load of inspiration photos. I will be posting those along the way to social media. So don't poke the bears. Try not to get distracted taking photos that I fall off of a cliff or something. My husband is coming with me so he can keep me out of trouble. Because I get distracted by, ooh, pretty. Oh, you're welcome. Enabling. I know. So my short quick review of these are I love the palette. I love the color selection. This is a great basic color selection. I do wish it had like a teal color in it. It could have used like one less of these blues like maybe the primary phthalo that you could have done without and maybe put some teal in. But you could take the plastic insert out and put more colors in here. I love the container. Opening the paint pans was a pain in the neck. They are not as bright and vibrant as some other brands. I don't know about their lightfastness. I would venture to guess because it doesn't say anything on the packaging about being lightfast. They probably aren't. Yeah, it doesn't say anything. Let's see.  Let's see. What does the label say? Okay, I take that back. The label does have a marking on it. I bet you these are lightfast. We're going to have to find out and post to the Facebook group. But they're nice paints. I like it. It's nice. You don't have to spend tons of money for Daniel Smith or Schmincke. You can get something like this, especially if it turns out they're lightfast. I'll look that up and I'll try to put something in the video description for you all and also on the Facebook group. If you want to join the Facebook group, the link should be in the description below. Again, I'll be back for the live broadcast on the 23rd with Monday with DecoArt and then two days on that Wednesday. I'll be back with watercolor Wednesday. Hopefully the white night paints will be in by then. I think that's it. Don't forget to go out and have a great day and do something nice for yourself because you deserve it. I'll try not to get eaten by bears, fall off a cliff, get too seasick. We'll see what happens. All right, guys. Oh, it does come with this cute little brush, by the way, a little travel like mini travel brush that instead of like having a cap, it screws together like this. It reminds me of a Chinese watercolor brush. It would probably make a good mop brush, a good background brush. It's not going to be great for detail because it's not pointed at all. No, these are the PBO watercolors. This is the PBO watercolor palette. We did open and swatch them at the beginning. So these are the colors that come in the palette. It's a round palette of 24 colors. And yeah, everybody have a great day. Don't get into too much trouble while I'm gone. Be nice to the admins over at the Facebook group. And play with your watercolor paints. And I would love to see you guys mix them up with some pen work and some acrylic paint and have fun with it. You can come up with really interesting stuff. And a reprint of this would be really fun on a greeting card. If you're getting ready to do spring and summer arts and craft shows, this image would be a great image for a greeting card. FYI. All right, everybody.  And then I've got to finish packing. And I have a bunch of errands to run, like go to the bank and stuff like that. It'll be up within... Kathy, it takes about five minutes for the live broadcast to show up on YouTube. It takes about five to 15 minutes depending on YouTube. So within a few minutes. But I did start out by opening the palette. I did save most of the labels, see. And doing the color key. And then this is the paints, some acrylic paint, some pen, some gel pen. And yeah, it'll be up within a few minutes. And while it's loading, I'm going to look up the color fastness or light fastness of the paints and a link to the paints and some information about that. And I will put it in the description so that when the video loads that it is already in there. And I believe there is a... the file for that Anne Williamson created for me to do color wheels and also the gridded color charts. I believe that's already up on my website, jeanabeearons.com. The link for that should already be in the description of this broadcast. The link for my website. And so go to my website and go to the Watercolor Wednesday page. All right, that's it guys. I really got to go. I'll talk to you all later. Have a great week. I'll see you in 11, 12 days. 12 days. All right. Bye.


In the Southeastern Conference, football is a family tradition. We've always lived around football and I believe that that's one of her number one decisions for deciding to go to Alabama for all time. How many Saturdays have we sat on the couch, Sundays we've sat on the couch and watched a game together? Throughout the years, the SEC has seen its fair share of sons, brothers and cousins take the gridiron. Of course, you've got Peyton and Eli Manning, whose father Archie suited up for the Ole Miss Rebels in the late 60s. Then there's Ronald, Champ and Boss Bailey, who led the Georgia Bulldogs' defense throughout the late 90s and early 2000s. While those have become legendary SEC names, one could argue that the greatest lineage of football families lies right here in Tuscaloosa. Among the earliest is the Davis family. Tim Davis was the first of four brothers who kicked field goals and PATs for Alabama, scoring 139 points for the Crimson Tide from 1961 to 1963. Tim was followed by younger brother Steve, who scored 112 points at the capstone from 65 to 67, and was followed by younger siblings Bill and Mike, who booted for Bama from 1971 to 1975. All were sons of Alvin Pig Davis, the first player ever recruited by Bear Bryant when he became an assistant coach at Alabama in 1936. But the Davis' aren't Alabama's only kicking, Ken Folt. Who could forget the kick by Van Tiffen in 1985? Van's son Lee would take over the kicking duties for the Tide in 2006, passing his father as Bama's all-time leading scorer with 350 points. Muscle Show's native Lee Tiffen, joining us now, and Lee, this has been an incredible season for you.  You've got the scoring record at Alabama. You passed your dad on the scoring list. Bobby Humphrey did his fair share of scoring for the Tide in the late 80s, amassing 40 touchdowns throughout his illustrious career. Thirty years later, his son Marlon would strive to keep Tide opponents out of the end zone. In second and eighth, deflection intercepted. The Castills, the Brits, the Croyals, the Wormacks. The list of Bama's football families is endless, but here, the family nature doesn't end on the gridiron. It transcends the athletes and pours into the community. There's even an entire weekend dedicated to family at the Capstone, and it's here, in these moments, that we see the lasting impact of the game. It means a lot to me. My parents are so supportive of everything that I've done this far, and I think to honor them and kind of be a legacy to them, and you know, it's just so great to look up and see them, and they're just so supportive of me and everything I've done, and I just can't thank them enough, and it's fun to look up around and see 101,000 people. It's cool to see your parents looking right at you, supporting you the whole time.  I think there's only one home game that they've missed. And today is Alumni Band Day, so I get to go on the field and march with my daughter, and that's a real, real big deal for me. It'll be pretty fun. I don't want to cry on camera, but every time she walks out there for the elephant stomp or for a free game or halftime, I get a little cheery. I can't even describe it. It's an experience I never would have thought.


My name is Dave Vellante and with me are two world-class technologists, visionaries, and entrepreneurs. Benoit Dajaville is the, he co-founded Snowflake and he's now the president of the product division and Florian Duetto is the co-founder and CEO of DataIco gentlemen. Welcome to theCUBE, two first timers, love it. Yeah, great time to be here. Now Florian, you and Benoit, you have a number of customers in common and I've said many times on theCUBE that the first era of cloud was really about infrastructure, making it more agile, taking out costs and the next generation of innovation is really coming from the application of machine intelligence to data with the cloud as really the scale platform. So is that premise relevant to you, do you buy that? And why do you think Snowflake and DataIcoo make a good match for customers? I think that because it's our values that are aligned meaning it's all about actually today allowing complexity for customers or you close the gap or the commoditize the access to data, the access to technology. It's not only about data, data is important but it's also about the impact of data. Or can you make the best out of data as fast as possible, as easily as possible within an organization. And another value is about just the openness of the platform, building the future together. Having a platform that is not just about the platform but also a full ecosystem of partners around it, bringing the level of accessibility and flexibility you need for the 10 years ahead. Yeah, so that's key, but it's not just data, it's turning data into insights. But why you came out of the world of very powerful but highly complex databases. And we all know that you and the Snowflake team get very high marks for really radically simplifying customers' lives. But can you talk specifically about the types of challenges that your customers are using Snowflake to solve? Yeah, so the really the challenge before Snowflake I would say was really to put all the data in one place and run all the computes, all the workloads that you wanted to run against that data. And of course, existing legacy platforms were not able to support that level of concurrency. Many workloads, we talk about machine learning, data science, data engineering, data warehouse, big data workloads, all running in one place didn't make sense at all. And therefore, what customers did is to create silos, silos of data everywhere, with different system having a subset of the data. And of course now you cannot analyze this data in one place. So Snowflake, you really solved that problem by creating a single architecture where you can put all the data in the cloud. So it's a really cloud native. We really thought about how to solve that problem, how to leverage cloud and the elasticity of cloud to really put all data in one place, but at the same time not run all workloads at the same place. So each workload that runs in Snowflake that is dedicated compute resources to run and that makes it very agile, right? Florian talked about data scientists having to run analysis. So they need a lot of compute resources, but only for a few hours. And with Snowflake, they can run this new workload, add this workload to the system, get the compute resources that they need to run this workload. And then when it's over, they can shut down their system. It will automatically shut down. Therefore, they would not pay for the resources that they don't use. So it's a very agile system where you can do these analysis when you need and you have all the power to run all these workloads at the same time. Well, it's profound what you guys built. I mean, to me, I mean, of course, everybody's trying to copy it now. It was like, I remember the notion of bringing compute to the data and the Hadoop days. And I think that, as I say, everybody is sort of following your suit now or trying to. Florian, I gotta say the first data scientist I ever interviewed on theCUBE was the amazing Hillary Mason. Right after she started at Bitly, and she made data science that sounds so compelling, but data science is hard. So same question for you. What do you see as the biggest challenges for customers that they're facing with data science? The biggest challenge from my perspective is that once you solve the issue of the data silo with Snowflake, you don't want to bring another silo, which would be a silo of skills. And essentially there is today a talent gap between the talent available in the market or how it is to actually find, recruit, train data scientists and what needs to be done. And so you need actually to simplify the access to technology such as every organization can make it, whatever the talent, by bridging that gap. And to get there, there is a need of actually breaking up the silos, having a collaborative approach where technologists and business work together and actually all put some of their ends into those data projects together. Yeah, it makes sense. Well, Florian, let's stay with you for a minute if I can. Your observation space is pretty global. And so you have a unique perspective on how companies around the world might be using data and data science. Are you seeing any trends, maybe differences between regions or maybe within different industries? What are you seeing? Yeah, definitely I do see trends that are not geographic that much, but much more in terms of maturity of certain industries and certain sectors, which are that certain industries invested a lot in terms of data, data access, ability to store data in the last few years and now reach a level of maturity where they can invest more and get to the next steps. And it's really rely on the ability of certain leaders, certain organization actually to have built this long-term data strategy a few years ago and now start reaping off the benefits. You know, a decade ago, Florian Halverian, famously said that the sexy job in the next 10 years will be statisticians and then everybody sort of changed that to data scientists and then everybody, all the statisticians became data scientists and they got a raise. But data science requires, you know, more than just statistics acumen. What skills do you see as critical for the next generation of data science? Yeah, it's a great question because I think the first generation of data scientists became data scientists because they could learn some Python quickly and be flexible. And I think that the skills for the next generation of data scientists will definitely be different. It will be first about being able to speak the language of the business, meaning how you translate data inside predictive modeling, all of this into actionable insights or business impact. And it will be about how you collaborate with the rest of the business. It's not just how fast you can build something, how fast you can do a notebook in Python or do predictive models of some sorts. It's about, oh, you actually build this bridge with the business. And obviously those things are important, but we also must be cognizant of the fact that technology will evolve in the future. There will be new tools, new technologies and they will still need to keep this level of flexibility and get to understand quickly what are the next tools they need to use or new languages or whatever to get there. As you look back on 2020, what are you thinking? What are you telling people as we head into next year? Yeah, I think it's very interesting, right? We, this crisis has told us that the world really can change from one day to the next. And this has dramatic and profound aspects. For example, companies all of a sudden saw their revenue line dropping and they had to do less with data. Some of the companies was the reverse, right? All of a sudden, they were online, like in Stackout, for example, and their business completely changed from one day to the other. So this agility of adjusting the resources that you have to the task I need that can change using solution like Snowflake really helps that. And we saw both in our customers, some customers from one day to the next where growing in like big time because they benefited from COVID and their business benefited, but others had the drop and what is nice with cloud, it allows to adjust complete resources to your business needs and really adjust it in house. The other aspect is understanding what is happening, right? You need to analyze, so we saw all our customers basically wanted to understand what is it going to be the impact on my business? How can I adapt? How can I adjust? And for that, they needed to analyze data and of course a lot of data which are not necessarily data about their business but also data from the outside. For example, COVID data, where is the state? What is the impact? Geographic impact on COVID, the time and access to this data is critical. So this is the promise of the data cloud, right? Having one single place where you can put all the data of the world. So our customers all of a sudden started to consume the COVID data from our data marketplace and we had literally thousands of customers looking at this data, analyzing this data and to make good decisions. So this agility and this adapting from one hour to the next is really critical and that goes with data, with cloud, adjusting resources and that doesn't exist on premise. So indeed, I think the lesson learned is we are living in a world which is changing all the time and we have to understand it, we have to adjust and that's why cloud somewhere is great. Excellent, thank you. Nikit, we like to talk about disruption, of course, who doesn't? And also, I mean, you look at AI and the impact that it's beginning to have and kind of pre-COVID, you look at some of the industries that were getting disrupted by every talks about digital transformation and you had on the one end of the spectrum industries like publishing, which are highly disrupted or taxis and you could say, okay, well, that's, you know, bits versus Adam, the old Negra Ponty thing but then the flip side is they look at financial services that hadn't been dramatically disrupted. Certainly healthcare, which is ripe for disruption, defense. So there are a number of industries that really hadn't leaned into digital transformation. If it ain't broke, don't fix it. Not on my watch, there was this complacency and then of course COVID broke everything. So Florian, I wonder if you could comment, you know, what industry or industries do you think are going to be most impacted by data science and what I call machine intelligence or AI in the coming years and decade? Honestly, I think it's all of them or at least most of them because for some industries, the impact is very visible because we're talking about brand new products, drones, flying cars or whatever that are very visible for us. But for others, we are talking about different changes in the way you operate as an organization. Even if financial industry itself doesn't seems to be so impacted when you look at from the consumer side or the outside. In fact, internally, it's probably impacted just because the way you use data, the level of flexibility you need, the kind of cost gain you can get by leveraging the latest technologies is just enormous. And so it will actually transform the industry also. And overall, I think that 2020 is a year where from the perspective of AI and analytics, we understood this idea of maturity and resilience. Maturity, meaning that when you've got a crisis, you actually need data and AI more than before. You need to actually call the people from data in the room to take better decisions and look forward and not backward. And I think that's a very important learning from 2020 that will tell things about 2021. And resilience, it's like, yeah, data analytics today is a function transforming every industry and it's so important that it's something that needs to work. So the infrastructure needs to work, the infrastructure needs to be super resilient, so probably not on-prem or not fully on-prem at some point. And the kind of resilience where you need to be able to plan for literally anything, like no hypothesis in terms of behaviors can be taken for granted. And that's something that is new and which is just signaling that we are just getting to the next step for all data analytics. I wonder, Benoit, if you have anything to add to that. I mean, I often wonder when are machines going to be able to make better diagnoses than doctors? Some people say already. Will the financial services, traditional banks lose control of payment systems? What's going to happen to big retail stores?  Yeah, I would say I don't see that as a negative, right? The human being will always be involved very closely, but the machine and the data can really help, see correlation in the data that would be impossible for a human being alone to discover. So I think it's going to be a complement, not a replacement. And everything that has made us faster, doesn't mean that we have less work to do. It means that we can do more, and we have so much to do that I would not be worried about the effect of being more efficient and better at our work. And indeed, I fundamentally think that data processing of images and doing AI on these images and discovering patterns and potentially flagging disease where or near that it was possible is going to have a huge impact in healthcare. And as Florian was saying, every industry is going to be impacted by that technology. So yeah, I'm very optimistic. Great, guys, I wish we had more time. We got to leave it there. But so thanks so much for coming on theCUBE. It was really a pleasure having you.


All right, we'll get going. Welcome. So this talk is the next frontier in open source Java compilers, the just-in-time compilation of the service. So hopefully everyone here is familiar with Java. I hope so. That's me. I approved that picture. Rich Agarty, IVM developer advocate. So we all understand Java, the underlying JVM, and the JIT, how that works. The Java code is sent to the JVM for execution. The JVM uses the JIT to compile code in an optimized way, and as time goes on, your code is optimized and runs better and better. That's the theory. Okay? With that in mind, that's what the talk is about today. So we're going to talk about the problem, which is Java on cloud, specifically distributed architectures like microservices serverless. Then we're going to talk about the reason this is a problem, and that is because of the JVM and the JIT, which has a lot of great things, but also is a reason behind the issues we're going to have. And then we're going to talk about a solution, which is JIT as a service. So again, let's talk about Java on cloud. Is it a good fit? So first we need to talk about where Java came from. Java is all about monoliths. And that's when you had a dedicated server, tons of memory, tons of CPUs. This thing would run forever. It never went down. It didn't matter that it took 15 minutes to start up because you never started it up. It just never went down. You would upgrade maybe every six months, one year. That's the old model. So now we want to move to microservices cloud native applications with our Java application. So now we're running in containers. Now we're managed by a cloud platform like Kubernetes. And we need scaling. We need to scale to meet demand. So the main motivators we have for moving to the cloud, the obvious ones. It's going to be so flexible, so scalable, it's going to be perfect. Once you roll out new releases, independently of others, especially with microservices, right? We can update one without affecting the other. Take advantage. So once you're on the cloud, all the new innovations that are coming out of the cloud, we can take advantage. Less infrastructure we need to keep and manage. Saving money, that's the big one. That's the theory. So here's the problem. It gets down to performance versus cost. And why this is so hard with Java. So there's only really two variables with regarding cost is one is the size of your container and the other is how many of those instances you need to run. It's all related to resources. What are you going to get charged for? So in this case, we're looking at cost and performance. So right here, we've got minimal cost. We probably undersized our containers. We're not running enough instances. We're not spending a lot of money, totally unacceptable performance, right? So we may boost it up or run a couple more instances, but it's still not very efficient. We're just spending more money, but still not performing correctly. And obviously the worst case is we make oversized containers. We have too many running. We're spending lots of money. Performance is very good, but you're not going to like the cost. So this is a sweet spot, very, very hard to do. In fact, there's a lot of companies are putting a lot of effort into trying to figure out a Java solution for that. And that's why I'm here. So the JVM and the JIT compiler, the good and the bad. So we're going to get to the reasons behind all this, why it's so hard to do. So the JVM itself has been around for 25 years at least, device independent, right? That's the whole promise of Java. You have a JVM on architecture. You can run your same Java code without change. The JIT produces optimized machine code. So when your JVM starts up your application, it takes that code, it runs profilers into your code. It looks at the inputs, your methods, it determines, okay, these are the hot methods. Let's compile those, and it can compile in multiple, multiple times. And your code becomes very, very efficient. We have very efficient garbage collection, the JVM. That's why your code can run for years. The longer it runs, the better it gets. So the bad. So that initial execution of your Java application is interpreted. Hopefully everyone knew that, right? Bite by bite, very slow, relatively slow, until those methods can be compiled. The hotspots are identified, in fact, the Oracle JVM is called hotspot. So it identifies the profilers to identify the hotspots and says, let's go build that, let's compile that method with the JIT. The issue is this initial loading of the JIT and compiles can cause CPU spikes, lowers your quality of service. Memory spikes cause out of memory issues, including crashes. The end result, very slow startup, very low ramp up. Startup is the time it takes for your Java application to be able to service a request. That could be during the initial interpreted phase. Startup is the time it takes for your JVM to identify what methods need to be compiled and it compiles all those fully optimized. That's the difference between startup and ramp up time. So here's an example of what happens with your JVM. These are your spikes associated with those initial compiles. Here's your memory footprint. So we need to find that sweet spot, which is getting that container to be just the right size to handle those spikes, but not wasting time, wasting space. And we need efficient autoscalers. So let's revisit those again now that we know more about what's happening in the background. Here's the problem. We will always over provision. We're going to run tests on this container, we're going to find out. We need to let's set up this container to be right about here, to handle these spikes. The problem is 90% of your code is running down here. So as soon as we get past this level of spikes, we're wasting space. So you're always going to over provision just the way it is. Plus JVMs are non-deterministic, meaning you run the same code twice, you're going to get different spikes at different levels. So we have slow startup and ramp up times for the container and oh, I'm sorry, this is for autoscaling. Scaling is not going to be efficient. You have microservices that you want to scale up and down based on demand.  It has to be quick. Demand comes on, you need four more instances of your microservice. While it takes 10 seconds for them to start up each, it's going to be too slow. Users are going to know. Also CPU spikes can cause autoscalers to give you false positives. So autoscalers are based on metrics like CPU utilization. So if you say anytime my CPU gets over 50% fire up another instance, if you're telling Kubernetes this or the autoscaler, your JVM may start up and start compiling and go over 50%. So it hasn't actually processed anything, but it's over 50%, so it's going to fire up another instance. And that's not right.  So it's going to be very inefficient. So solution, we've got to minimize, eliminate CPU and memory spikes. We've got to improve startup and ramp up times. Very easy, right? That's all we've got to do. That's where the JIT as a service comes in. So here's the theory behind the remote JIT. We want to have our, oops, come on, I apologize, this is our normal JVM. We want to have remote JITs that we can access remotely. So we offload the JIT compilations to the remote services, right? These are going to be managed just like any other microservice by your orchestrator, Kubernetes. It's basically your classic monodomicro solution. In this case, the monolith is a JVM, now we're splitting that into a JIT and whatever is left into two microservices. The other thing is the JIT is still available in local JVM. So if this goes down for any reason, the JVM could still function. So we're basically treating our JIT compilation as a cloud service. So does that exist? It does and it's actually a part of the OpenJ9 JVM and it's called JIT server, also known as SAMRU cloud compiler. OpenJ9, does everyone know what OpenJ9 is? So OpenJ9 is a JVM that's been around, well, I'm going to talk about it here in a second. So initially over 25 years ago, IBM came out with the J9 JVM. So IBM identified early on that Java was going to be very popular. They wanted to make sure that it worked on all of their devices. So from their handheld scanners to their mainframes, so they built their own JVM. It's called J9. About five or six years ago, they said we're going to open source it to Eclipse and now it's called the OpenJ9. And it's distributed with IBM's distribution of the OpenJDK. So everyone here, if you've never heard of OpenJ9, I assume you are using Oracle JVM hotspot if you're using Java. So just to let you know, OpenJ9 is built for small containers that's built for the cloud. Here's some testing we have going against hotspot. So it's basically half the size, half the, it ramps up faster, uses less memory. So OpenJ9 comes with IBM's distribution of Java, which is called SAMRU Runtimes. So I don't know if you're aware, it used to be you get Java from Oracle or Sun if you're really old. But it was open source about 10 years ago. There's been different distributions of now. There's multiple players that this distributed, right? There's Amazon, Coretto, Oracle has theirs, Red Hat has theirs, Microsoft has a version, IBM has a version. It's called SAMRU Runtimes. And if you're wondering what the name is, SAMRU is the tallest mountain on the island of Java. So that's the correlation there. So what advantages do you get with a JIT server? From a client standpoint. So if I'm a JVM accessing this JIT, now it's going to be a lot easier for me to provision the container, right? We don't worry about those spikes anymore. So we used to have to provision up here to handle the spikes. Now we just worry about the actual container size, what the application needs. We're going to get improved ramp up time because the JIT server is doing all that hard work. Reduce CPU consumption. The cost. You're going to reduce your memory cost. We're going to show that here in a minute. We did a couple of experiments. And you're going to get a lot more efficient auto scaling. So the scaling is going to be correct. It's going to be based on demand instead of based, not based on, oh, the files caused you to start erroneous instances. And resilient if the JIT server does go down, the JVM still has access to its own local JIT. So we did a test. This is an example of the size of containers. So we basically took four big job applications. And we created multiple instances of each. And we scaled them, the container size, such that they would perform well. And we put that onto AWS, I think, on OpenShift. Yeah. And this is what we came up with. So this is kind of hard to read. But the top one is our baseline. This is without the JIT server. So we have five applications that all have the same color. So example, AM is the Acme Air monolith application. We determined we need to have 500 megs to run efficiently. And we're going to have eight instances of that. And if we do that, we ask OpenShift, which is our platform we're using, to lay that out. It says, OK, we're going to need three nodes of this size to run what you want to run. Then we introduced the JIT server, which is right here. This bottom row is the JIT server. So the JIT server itself is the biggest application in the node. See how big it is? But even with that, all of our applications almost shrunk in half. So we have the same number of instances running. Even with the JIT server, we're now using two thirds of the allocated memory. If you're wondering how they perform against each other, basically it's a wash. They both perform the same. Here's an example of auto-scaling. Again, with the JIT servers in blue, you're going to see that the dips aren't as severe and it comes back up and ramps up a lot faster. I want to show you a demo real quick. So here's a demo. We're going to take three applications. We're going to take one application and run three instances of it. It's called Acme Air and we're going to run it in containers. The first one's going to have 400 meg, the second one's going to have 200. The third one is also only going to have 200, but it's going to have access to the JIT server. The top two is not. So these are on their own. The bottom guy gets that. So this MongoDB is used by the application. The rest of the stuff, all these containers are just needed for the test. So they're going to gather metrics and they're going to display them. So let me go ahead and show that at work. I got this all running right before this started, hopefully everything's still there. All right. So all the containers are all running. I'm going to go ahead and start up my Acme Air. So I'm now going to fire up those three containers and then I'm going to run Jmeter, which is going to apply load to each one of those. Okay? I don't know if you can read that. Hopefully you can. So this is what that Acme Air container thing is. So right here, I'm running three versions. You can see the three Docker runs. The first one has 400 meg, the second one has 200. The bottom one also has 200, but it has this extra JVM argument that says go ahead and use the JIT server. That's the difference. So now we'll go over to, we have Grafana running some graphs back on what's going on. So this is CPU throughput to tell you how efficiently everything's running. The top graph, these two are running without JIT server. This one's running at 400. This one's running at 200. This guy is running with the JIT server at 200. And notice how fast this guy ramps up even more than this one. It's ramping quickly. This one running at 200 is never going to really get very far, right? In fact, probably nothing's being compiled, because the JVM is pretty smart in saying I'd like to compile these methods, but you don't have enough memory. I'm not going to cause an out of memory issue. So we'll just shut it down. We're just going to run interpreted. You're not going to be very efficient, so it's going to run that way. So these guys are eventually going to get to very optimized state, both of these. But this one's doing it on half the memory. That's the key takeaway, right? We got the JIT server running. We're using half the memory. So this is a graph. In case the demo failed, this was my backup plan. So how to use it? It's basically real simple. I don't know if you picked up on this, but basically the JIT server is just another instance of the JDK, OpenJ9.  It's just a different persona of the same OpenJ9 JVM. Full list of options are open. Again, it's open-sourced under Eclipse, so there's a whole list of options you can run with it. The key point here is we do have a certified operator. So OpenShift operators, I don't know if you guys are into those Kubernetes. It makes life so much simpler. So we have a certified operator for Open Liberty, which uses OpenJ9. And it's as easy as, there's an enable flag and you just say, I want to use the JIT server and you just get it. There's not much you have to do. There's no calls you need to make. It's just the startup of the JVM that's different. Obviously, there's a lot of parameters you can run with some, we don't recommend you using any, let's see, I'm sorry, I had a thought that just escaped me. It does add to the network latency, so you shouldn't be using too much of that. If you can get away with it, don't use it. It does provide some metrics back to Prometheus if you want to track how it's doing. You typically want to use 10 to 20 clients per JIT server. So that's key. You noticed in that one graph we showed, it was the biggest container, well, you need to connect to a lot of clients to make up for that. And you do need to make it pretty big here, one to two gig of RAM. And you don't want to start everything at the same time. You want to stagger the starts. You don't want to start 20 clients at the same time using the same JIT server. There's another feature. I had another talk where I talked about serverless. And Instant On is another feature of OpenJ9. So one of the benefits of OpenJ9 is that both IBM and Red Hat are fully vested into this open source JVM, and they're coming out with really good technologies like the JIT server. By the way, as anyone, I talked about different vendors providing different solutions. The OpenJ9 JIT server solution is the only open source version solution out there. There are other solutions just like this, but they're proprietary. Also on the Instant On is another feature of OpenJ9, which basically takes your job application, takes a snapshot. And then you could start from that point, and it starts up instantaneously in milliseconds as opposed to seconds. Most job applications take five to 10 seconds. We get that down into the 300 millisecond timeframe. There's also different solutions for that. Different vendors are coming out with, but they're, again, they're proprietary. They're not open source. So Instant On is another feature that's come out that addresses serverless. But Instant On can be combined with JIT server. So those containers that you create that scale up and down can be instant on images, and they could start instantaneous. I was going to show you if we had, I think that's it. So final thoughts, the JIT does provide a great advantage, but the compilation is the problem. That's the problem with Java. So if we disaggregate the JIT from the JVM, we're making a JIT compilation as a service. That's what we're proposing as a good solution. The Eclipse Open J9 JIT server is also known as a SAMRU Cloud Compiler. It's available now on Linux Java 8.11.17, and it's distributed with the IBM SAMRU Runtimes. So it's great for constrained environments. You're only going to want to use this with containers and microservice architectures. It works seamlessly with Kubernetes, and it's going to improve your ramp up time auto-scaling performance, and it's going to reduce your memory footprint. So you're going to, it's all about, we talked earlier about the motivations for moving to cloud, and one of the things a lot of people find out is they don't save a lot of money because of resources. It's using more resources than they thought they'd need. And one of the big reasons is because you don't know how to provision right. You need to provision for worst case scenarios, and all we're doing with solutions like that is eliminating those, and you can work to get those costs down. That QR code points to a series of articles and blogs around this technology and using it in different environments like Kubernetes. Anyway, that's the end of my talk, but thank you. Thank you for coming. I know it's late. Did I get done in time? Yeah, I think I did. Any questions? Yes. I can repeat the question. I think he said something about if it works with Quarkus, or is it an alternative to Quarkus? Did you try to use it with Quarkus, and how does it perform comparing with Graal VM? So there, okay. I alluded to that earlier. So Graal VM has a couple of solutions like that, right? So Graal VM has a crack service they have. So the underlying restore feature for the Instant On instantaneous comeback is the underlying, it's a Linux feature called CryU, checkpoint restore in user space. That technology has been around a while. You can use that with Linux processes. You can say run, freeze, or stop, take a snapshot, come back later, start right from that point. Same thing is applied to images that are put in containers. So a couple of different vendors have used that. So Quarkus has another feature, it's called static compilation. Is that what you're talking about, Graal VM? So the point about that is they've decided, okay, Java isn't fast enough, we're never going to get it fast enough, let's compile statically beforehand. So they take a static compile like your C program, they get an executable, very small, runs fast, and then they run that. The problem is it's not built, you lose the JVM, you don't have a JVM anymore. All the things that are nice about JVMs are gone, garbage collection, all that. So it doesn't work very well with short lived, with long running applications, you wouldn't want to do that. So it has a place, but you have to take a whole new framework, right? So I got my Java, I got my process set up, and okay, for this thing we're going to build Quarkus. It's a new framework, we compile differently, how does that fit into our CICD pipeline, how do we test that? Java developers aren't going to compile the code, they're going to run the JVM. And now we have to release this thing in, and we have to have a whole set of tests around it, so it makes your life more complicated, so that's my pitch. But I understand, I mentioned that, that green spot is very hard to get that right, and a lot of vendors are coming up with solutions, and that's one solution, saying Java just doesn't work. We're going to compile ahead of time. All the cool features of Java, dynamic, loading, and all that stuff, you can't do, by the way. You have to have a very small subset of Java, you have to compile ahead of time, and then run it that way. But that's it. Yes? Do all the compilation improvements happen per container? Well, the JIT server can service multiple clients. That's what I was going to get, so does it share the customization, is that where the power is coming from? Yes, part of it. Part of it is the initial compilation that's going to give you, it's basically giving you CP cycles, because it's doing the compilation. But if I have microservice A, and I have 10 instances, and they're running, they're getting scaled up, the first version of that compiled a bunch of its methods, and the JIT server has those. Now the second instance comes along and says, hey, I need this, I already got it, it sends it right back. So that any new container will not have the cold start problem, right? It shouldn't have, well, no. I do want to be careful. Not all instances are created equal, so the profile has to match exactly. So the JIT server just knows that it's getting a request for a method, and if it's already got that compiled and the profile matches, it will return that. Otherwise it's going to compile it again. But even if it didn't have it ready to go, the fact that it's compiling it and your container is not, is the savings, because you have a smaller container. Any other questions? This is not brand new technology, either. Now the instant on is coming out, OpenJ9 is releasing that soon. I'm not allowed to say when, very, very soon. The JIT server or Samaroo Cloud Compiler has actually been around about a year and a half, almost two years, right? And we're, it's slowly getting better and better, different use cases, different platforms, cloud platforms, you know, testing stuff from the cloud is very difficult. There's the matrix, test matrix is huge. All the different Java versions, all the different cloud platforms with different orchestrators. So it's getting better and better. We're finding issues and we're fixing them. All right, well, that's it. Thank you very much for coming.