The two key jet features we observe directly are its apparent luminosity and its apparent motion across the sky. A study done by a team of astronomers using the European very long baseline interferometer radio telescope network analyzed the motion of one of the knots near the jet's origin at the black hole. They found that one of the components moved 30 mAh over two years. That's a very tiny amount, but when you multiply it by the large distance to m87, we find that the distance traveled was eight light years. To travel eight light years in just two years means its velocity is four times the speed of light. We call the apparent velocities greater than the speed of light superluminal motion. Here's how it works. Suppose we have an object at location A at time t1. That moves to location B at time t2, the travel time being delta t. D is the distance traveled. It will equal the object's velocity times its travel time. We're observing this motion from a great distance at an angle theta from the object's line of motion. We see only the proper or transverse motion across the sky, designated here as d prime. Our start time is the object's start time, plus the time it takes the light to get from point A to point O, where we are. Our end time is the object's end time, plus the time it takes the light to get from point B to point O. With that, we can calculate the observer's view of the object's velocity in terms of the object's view and vice versa. If we plug in the numbers we found for not C in the M87 jet, we find that the apparent velocity of four times the speed of light turns out to be 0.97 times the speed of light in the object's frame of reference. And the apparent elapsed time of two years turns out to have taken the object almost 67 years. It was not traveling faster than the speed of light. Note that this only happens when the velocity of the object is near the speed of light, and in addition, the viewing angle is small.


I am using the AD Premium 2, but I have more staff that I'm willing to pay for. The main team of five, I can understand a whole public institution is just too much. I cannot add janitors and sales that will never use these services much. Must I use AD B2C? But the B2C is for customers and I already have very many of them. What can I do? It is very expensive to host 9,281 people in an AD Premium 2. Yeah. My take on this, just trying to kind of eke out from the question what he's trying to achieve. Obviously, he's talking about public institutions, talking about having a relatively large user base, 9,281 people. The thing with Azure licenses, you don't have to license every single person with the highest level of license. Not every single user must have a P2 license. You can blend and mix and match your licenses. A little bit on show, I guess what he's trying to say is, as he says already, we've got a two or five is admins. He can administer, he can have all those admins with P2s, maybe a handful more with P2s. For regular users, he can use lower level licensing. There is limitations to some of the mix and matching. I'll put a link in the comments there as well, Christian, if you can include that in the readout. If he wants to follow up, it would help to understand what about P2 they need to use. The key features you get with P2 that over and above, the additional features around MFA, support for not just P1 only supports authenticator app, P2 provides you with access for telephone calls and SMS as well. There's additional features around it, and there's some other things as well. The app proxy moved into P2 at one point. It's a big landscape of change, but it's a case of understanding what his minimum requirements are, and what are the requirements for the admins. With respect, he's comment about Azure B2C, he's thinking about using B2C with this 9,000 of these people, that seems like a whole different conversation. I think he's going down that path with the view to seeing what lower level license he can use. I just did a very quick exercise in building a blended Cal type model with Azure, and the Azure calculator can plan it out for you. It only gives the prices obviously in regular retail prices, but there is links to talk to a special licensing specialist if you want to get some. I'm not trying to sell anything here, but there's an option there in the calculator to find a licensing specialist to help you out. Dealer in the dark arts. True.


Live from Barcelona, Spain, it's theCUBE. Covering Cisco Live 2020. Brought to you by Cisco and its ecosystem partners. Welcome back, this is theCUBE's live coverage of Cisco Live 2020 here in Barcelona, Spain. I'm Stu Miniman, my co-host for the segment is Dave Vellante. John Furrier is also in the house. We're doing about three and a half days wall-to-wall coverage. The surface area that we are covering here is rather broad and I use that term, my guest is laughing, Vikas Bhutani, who is the vice president of IoT, of course, extending the network to the edge, to the devices and beyond with Cisco. Thanks so much for joining us. Oh, it's great to be here. All right, IoT thing, I've worked with Cisco my entire career. I watched through the fog computing era for a couple of years. Edge, of course, one of the hottest conversations, something that I've brought up, many of the conversations across the portfolio, but listen, Tony, was up on the main stage for the day one keynote, talking a lot about IoT and IT and OT and your customers and the like. So let's start there as, what's new? How does IoT fit into the overall Cisco story? Absolutely, so as Liz was on the main stage and David talked about the cross-domain and the multi-domain architecture, now IoT and our operational environment is one of the key domains within that environment. And what Liz announced yesterday are two pieces of new that we are releasing at Cisco Live. First of them is an IoT security architecture, which ties together the capabilities with cyber vision and then integrates it within our rest of the IoT security portfolio. And the second part that I'm also excited to talk about is edge intelligence. It's about how we are helping our customers extract the data at the edge and then deploy it and move it to wherever the applications are in the multi-cloud environment. We definitely want to dig into those pieces, but IoT is such a diverse solution set. So it's often helpful to talk about specific industries, any customer examples, so what can you share with us there to help illuminate where Cisco's helping the customers? Love the security angles and edge. Yeah, just a level set. Like when we think about industrial IoT, we're really talking about the heavier industries, plant environments for a manufacturing company. We're thinking about roadways for a public sector customer. We're thinking the grid for the utility environments. We're thinking refineries and oil extraction upstream environments. So this is the kind of spectrum in which we are working in where customers have real businesses, real assets, where the operations is the heart of the enterprise that they're running in. And the technology can really be a revolutionary change for them to help them connect and then extract the data and then be able to make sense of the data to improve their business practice.  All of these industries and all of these customers are using industrial IoT technologies in running their businesses better today. Where are we in terms of that critical infrastructure being both connected and instrumented? Where are we in the adoption curve? Sure, look, in many of these industries we have talked about SCADA systems, right? That have been here for 30 plus years for our customers. In most of those environments it's really a one-way flow of information, right? And typically customers stood up separate siloed networks which weren't really connected to the rest of the enterprise. So Rockwell has a saying from the shop floor to the top floor, right? Like how the digital enterprise where all of these environments are coming together is where customers are. Critical infrastructure, as you said, in this day and age with security and other kind of threats, customers are a little hesitant about how they connect it all together. But Cisco is working with these customers in helping them think through the benefits they can get but also make sure from a cybersecurity point of view that you're helping protect the assets, manage these environments because you can't just arbitrarily connect them because IT tool sets just are not ready to manage these environments. Yeah, I love that all the examples you gave were European, of course, being here in Europe. Curious, there's some technologies where North America might take the lead or Asia might take the lead. Is IoT relatively distributed? Is Europe kind of on par with the rest of the world when it comes to general adoption? What we have found in Europe, because of many countries like Germany leading in the renewable energy effort and the climate is a big focus here. Data privacy and concerns around data sharing are much more top of mind in Europe. So we find those kind of use cases getting adopted much, much faster. So in Germany, as an example, Energy, which is one of our customers and they were here with us last year at Cisco Live and we launched a capability with them. They are trying to manage the real time flow of energy in their grid environment such that make sure that there are no outages, no brownouts in these environments. So utilities and customers like that across Europe are adopting technology faster. Manufacturing as always is a leading use case. There we see some of the automotives in US are leading a little bit more in getting environments connected to their environment. But overall, IoT is a global market. We work, we have over 70,000 enterprise IoT customers today at Cisco, right? So we are fortunate to be able to serve these customers on a global basis across the range of industries I talked about earlier. And in a lot of respects, too, I would say the US is behind, right? When you look at public policy from a federal standpoint, US really doesn't have a sort of a digital strategy from an overall perspective, whereas you're certainly India does in certain countries in Europe. You look at the railway systems in Europe. Much more advanced. Beautiful and shiny and advanced. And so, you know, I would say the US has a little bit of work to do here. That's right. My perspective, I wanted to be sure. No, that's right. Like in India, Prime Minister Modi started the effort around 100 smart cities, right? And like Cisco is working with many of those smart cities with our Cisco Kinetic for Cities to kind of create this, connect all of the sensor networks, video surveillance, safety, environmental sensors, managing the flow of that data and digitizing those environments, right? And in Europe, we've been working in France, Germany, Italy, UK, right? I mean, I think we're seeing much more like adoption in these specific industries, but it's a global market. And you know, again, like I said, 70,000 customers, we get to see quite a bit of the landscape around the globe. What should we know about the architecture? Can you give us kind of a high level summary? What are the basics? So in the comprehensive IoT security architecture that we released this week, it really starts with, you know, you have to be able to identify the devices, right? In IT environments, you know, to your laptop and to your PC, like they have been managed by MDM technologies for years, but in the industrial environment, I might have a programmable logic controller that I deployed 15 years ago. It's not ready for modern capabilities. So what you have to really start with is identifying all of these assets and the communication baselines that are happening there. That's step one. Step number two is really, now that I know that this is a PLC or that's a controller, I need to come up with a policy, a security policy, which says this cell in a plant environment can only talk to the other cell, but doesn't need to talk to a paint zone. So I'll give you an automotive. If I'm welding a car, I'm building a car, the welding robots need to be communicating with each other. There's no real reason that the welding robot needs to talk to the paint shop as an example. So you can come up with a set of policies like that to keep these environments separate, because if you don't, then if there is one infection, one malware, one security, then it just traverses your whole factory. And we know customers in Europe that have the networks have gone down and they've impacted $150 to $200 million of downtime impact. Well, we have a real world use case 10 years ago or so with Stuxnet, with Steven's PLC and boom all over the world. I mean, it's amazing. Exactly right. So again, back to identification, then I create the policy, then I implement the policy within our switching or a firewall network, but you're never done. So you have to keep monitoring on a real time basis as the landscape changes, what's happening, how do I keep up with it? And that's where things like anomaly detection are super important, right?  Yeah, so it sounds like something like cybersecurity is both a threat and an opportunity of bringing together IT and OT. Bring us inside a little bit those dynamics. We know it's one of the bigger challenges in the IoT space. Yeah, I mean, I think like, look, both parties, whether I'm an operational person or an IT person, both of us, both the audiences have their own care about. If I'm a plant manager, I'm measured on number of units I'm producing, the quality, the reliability of my products. If I'm an IT, I really am measured on downtime of the network or the cybersecurity threat. Like there aren't really common measurable capabilities, but cyber and security, it kind of brings both the parties together, right? So when we use our cyber vision product, we're able to provide to that plant manager visibility to what's happening, how are their PLCs performing? Did anybody change my program? Is my recipe for my given product I'm making secure and safe, right? So you have to appeal to the operational user with what they care about. IT really cares about to manage the threat surface, don't let that threat kind of propagate. Now at the board level, because the board sees both sides of it, they're asking these teams to work together because they have complimentary skillset. Well, I think it's critical because, rhetorical question, who's bigger control freaks? Network engineers or operation technology engineers, right? They both, you know, they want to keep that, you know, operation going and they're very protective of their infrastructure. And so it's got to come from top down and it is a board level discussion, right? I mean. Yeah, we have customers where, you know, the board is kind of the CEO has mandated to say, listen, whether it's for the national threat actors or other corporate espionage, right? Like I need to protect the corporate intellectual property, right? And because it's not just a process, it's also about safety of employees and safety of their assets that comes into play, right? So when some of the customers we are working with, where the CEO has kind of dictated that the IT teams help the operational environments, but it is a two-way street. Like there has to be value for both parties to come together to solve these challenges. Okay, so we talked a little bit about the threat. Also when we're talking IoT, there's all that data involved. What's the opportunity there for customers with data? How is this going involved? Absolutely. Look, I mean, I think one of the reasons that customers are doing digitization projects is because they're trying to use the data to make better business decisions. It has to improve yield and meet their KPIs of their industry. So far what we have seen is that all of the data is really trapped in all of these distributed environments. Gartner tells you that 75% of the data will be produced at the IoT edge. But our customers to date have not had the tool set to be able to get access to the data, cleanse the data at the edge of the network, bring the right data that they can create insights with and improve their businesses. So it's been a heterogeneous environment, lots of protocols, lots of legacy. So that's kind of what our customers are struggling with today. Yeah, absolutely. And most of that data is going to stay at the edge. So we need to be able to process the edge. Heck, I even went to a conference last year, talked about satellites that are collecting all of the data. I need to be able to have the storage, the processing, the compute there because I can't send all the data back as fast as it is. So it's a changing architecture as to where I collect data, where I process data. We think it is very much additive to the traditional cloud and data center environments today. It's just yet another challenge that enterprises need to deal with. That's right. So the work that Cisco is doing in the IoT edge environment is, we are enabling these customers to connect their remote terminal units, their machines and their robots and providing them the tool set with four capabilities. First, extract the data. And so we have a set of protocols like Modbus, like OPC UA, where they can extract the data from their machine. So step number one. Second, the data is to transform the data. As you said, over a LTE circuit or over a connection, I'm not going to be able to send all of the data back. So how do I transform the circuit, transform the data, where I maybe take an average over the last five minutes or I kind of put some functions and we are providing, as we're in the DevNet zone, we're providing developers the capabilities such that they can use Visual Studio, they can use JavaScript to write logic that can run right at the edge of the network. So now you have extracted the data, you have transformed the data. Governance is a key topic. Who should have access to my data, especially here in Europe, where we're concerned about privacy, we're concerned about data governance, we are enabling our customers to come up with the right logic by which if there's a machine data and you are the supplier, I'm only going to give you the data, the temperature, the vibration, the pressure that you need to support the machine, but I'm not going to give you the number of units I produce. I'm not going to give you the data about my intellectual property and then you have to integrate to where the data is going, right? So what we are doing is we are working with the public cloud providers, we are working with software ISVs and we are giving them the integration capability and the benefit of this for the customer is we have done pre-integration on the extraction part and we have done pre-integrations on the delivery part which allows them to projects to go faster and they can deliver their IoT efforts. So how do you envision the compute model at the edge? I mean, probably not going to throw a zillion cores, you know, so maybe lighter weight components and I got some follow-up on that as well. Sure, absolutely. Look, Moore's Law is a friend of ours here, right? Like with every cycle, every generation of CPU technology, you get more and more compute capabilities. So the IoT gateways that we provide to our customers today have four ARM cores in them. We are using two of those ARM cores for the networking function, but those cores are available for our customers. We have designed an extra memory for them to be able to process these applications and we give them SSD and some storage at that so we can provide up to 60 gigs or 100 gigs of storage such that now that gateway, that communication device, a router, a switch that's at the edge of the network can kind of do this dual purpose. It can not only process and provide you security for the, and the communications but is now an edge processing node.  We all ride the buses. There are over six systems that are on that bus, a video surveillance system. I want to monitor the tire pressure. I want to monitor if the driver going over the speed limit. Like we have now connected all of these systems and we are running logic at the edge such that the riders have a safer experience and then they can get real time visibility to wear the buses as well. Yeah, and my follow up was on persisting. So you mentioned storage, you know, flash storage at the edge. And then, you know, you also referred to earlier the challenges, this data today is locked in silos or maybe it's not even persisted. You know, it's analog data all the time. So do you envision, I mean, think about successful, you know, digital companies, kind of born and born digital. Data's at the core. It's traditionally big manufacturing firms, large infrastructure. It's the manufacturing plant or is the center of the universe and data sort of sits around it. Do you envision a period where that data is somehow virtualized and have access to it? We can really build digital businesses around that data. What are your thoughts? Absolutely. So we have been working with a customer. It's like a steel manufacturer in Austria, right? Like the heartland of Europe as an example. And they make high quality steel, right? And when they're building the high quality steel, they have 200 different machine types. And like you're saying, the data is trapped in there. This customer is trying to digitize and trying to do that. But they have been struggling for the last two years or so to be able to get the data with this variety of machines. And they want to use Azure IoT services, but they haven't been able to pipeline the data all the way to their cloud environments. So that was one of our lighthouse customers. And we work with them, like, you know, roll up your sleeves and kind of design the system with them. And we worked to get that data, such that now they're not quite a born digital company, but they are a heart manufacturing company. They can get the best of the tool sets and analytics and all of the things that contemporary companies use. And they can bridge them into this digital environment. And this is how the incumbents can compete with the sort of cloud or digital natives, right? I mean, this is the equilibrium that occurs. That's right. I mean, look, I think we love the digital companies, but they're not really, they don't have physical assets out there working. And I'm more physical or the more of the real economy, whether if you are an oil company and you're extracting oil from a pump jack, right? Like, well, you need to still have the capability to do that better, right?  Huge productivity gains. Massive. That's right. I think that technology and IoT technologies can benefit all of these industries and Cisco is going to invest it in kind of helping our 70,000 customers to get better with all of these capabilities. Awesome. Congratulations, 70,000 customers. Big number rolling out IoT solutions. Look forward to keeping track of Cisco's IoT solution. I'm super excited to be here. Thanks again. For Dave Vellante, I'm Stu Miniman. Back with lots more Waterwall coverage here at Cisco Live 2020 in Barcelona. Thanks for watching theCUBE.


Hello friends, welcome to the session. I am Valka. We are going to discuss determinants. A given question is let A be a non-singular square matrix of order 3 cross 3. Then determinant of a joint of A is equal to A that is determinant of A be square of determinant A, cube of determinant A and B that is 3 into determinant A. Now let's start with the solution. The basic idea behind the question is if A is a non-singular square matrix of order n then determinant of a joint of A equal to determinant of A to the power n minus 1. Now here we see that our order that is n is 3 so n equal to 3 so determinant of a joint of A equal to determinant of A to the power 3 minus 1. This gives us determinant of A squared therefore B which is square of determinant A is the right answer. Hope you understood the solution and enjoyed the session. Thank you.


I hope you did your short reading and visited the British Museum website prior to watching this video. And if you haven't, this might be a good time to stop and go back and do that. What we're looking at here is one scene that was excavated from a new Kingdom Egyptian tomb called the Tomb of Nebemun. Unfortunately, we don't know the fine sight of this tomb and we don't know the exact arrangement, although a pretty convincing arrangement has been set up by the British Museum just based on the fact that a lot of the imagery from this tomb is similar to imagery from many other tombs in Egypt. What this is is the burial of a relatively wealthy man. You see him and his wife seated at the top right and here they have almost naked serving girls bringing them offerings of food and gifts and on the left you see representations of those food and that food and gifts. One of the things that the Egyptians did was they believed that their soul would live on after death in the form of the Ka, Ka, and that the Ka needed to have different things to do in the afterlife, that the Ka needed occupations, needed food, needed all sorts of things that we associate with daily life. They would provide imagery in tombs, models of things from real life in tombs, all of this in order to provide for the Ka in the afterlife. This banqueting scene should be seen in that light as something meant to entertain the Ka in the afterlife. Before we leave this slide I just want to point out the strange sort of conical things that appear on many of the heads of these female figures you see particularly in the bottom or lower register that we see here. Those are actually cones of perfumed wax that the Egyptians would wear on their heads and as things heated up in a party the wax would start to melt and so you'd have this sort of heavy sweet scented perfume trickling down into people's hair and onto their skin in a in a party like this. Thanks to their extensive writings and to the sheer wealth of archaeological finds from ancient Egypt we know a lot about how they made their works of art and what you're seeing in both images on this slide first are paint palettes. Egyptians used a fairly limited range of paint colors and they didn't tend to mix their colors they tended to sort of put them next to each other more than mixing them. They would use white, black, yellow, green and blue primarily and you see those shades represented in these paint palettes and also in the rocks and minerals that you see on the lower right and I want to call your attention particularly to the red and the yellow pieces because those of course are ochre. When building a tomb Egyptian laborers would first hollow out a space from inside a mountain or a cliff face generally after the pyramids Egyptian tombs tended to be cut into rock and so once you had a rough layout of several rooms that would include offering chambers and a chapel a treasury chamber and a burial chamber then the business would start of actually decorating the tomb and so what you're seeing here is a plaster cast of the rough surface of a tomb wall and this would actually the rough tomb wall would actually be plastered over first with a fairly rough plaster and then with a finer plaster and then that plaster would be drawn upon and then carved and finally painted. Here I'm showing you a couple of unfinished works of art these are both in the Petrie Museum in London in order to give you an idea of the artistic process. So I want you to notice on the left this is a stela or like a stone tablet that would have been decorated and it was first marked with a grid pattern because usually Egyptian artists would start with a smaller sketch and then enlarge it using a grid and this is probably something that you encountered in a high school art class or even earlier. Then they would rough out the general shapes and colors and you can see some of that here and then what you see on the right is some of the actual carvings so here the surface has been very very lightly engraved with all of the lines and then the artist starts to work in and create a little bit more of a relief surface. In relief carving basically you have areas that stand proud of the surface of the work and then you have the surface itself and so the relief is the part that sticks out and here we have low relief which doesn't project very much but it's also possible to have very very high relief. So now we're back to our banqueting scene. As you can see the wall itself consisted of first a fairly rough layer of money plaster down below and you can see fragments of that on the edges and then a much finer quality plaster that was the area that what ended up being painted. In the tomb of Nebemun we have fewer areas that are actually sculpted with relief it's mostly just painting but I wanted to walk you through that process so that you have that in mind when you look at other examples of Egyptian art. Now we're looking at a closer view of the feast scene that we saw in the previous slide and then a detail from another area with food offerings that's from the same tomb and I want you to notice the the different colors that we see here and the ways in which the artist treated them. So here you can see a really heavy dark outline of red ochre was used for almost everything in these scenes. It outlines the figure of the serving girl, it outlines many of the food offerings, the baskets, the fruits, the the fowl and the fish for example and then we have a slightly lighter and version of red ochre probably actually mixed with a little bit of white paint in order to get this skin tone and that's used in other areas. There's a really wonderful bright orange ochre that also appears particularly in the image on the right and then you can see the yellow ochre which is used in a slightly diluted or lighter form and then also in a slightly darker form to show off some of the fruits and the baskets and as you can see ochre is one of the dominant materials being used here you also see lots of that sort of malachite green. The blue was actually the world's first synthetic pigment. The ancient Egyptians and the Han dynasty in China almost simultaneously invented synthetic glass-based pigments and these are called Egyptian blue and Han blue. Egyptian blue is sort of a cobalt glass frit that would be ground and so the blue areas that you see for example on the jewelry of the serving girl or sort of in between the grapes in those bunches of grapes that's Egyptian blue. We're going to finish with a look at this wonderful painting also from the Tomb of Nebemun. This shows a scene in which Nebemun is hunting and I'm showing you a detail in which his cat is also helping to hunt and so you can see at the center here the cat is simultaneously capturing three different birds, two with its claws and one with its mouth and all around we see butterflies, we see lotuses, we see papyrus and then on the left you can just see the leg of Nebemun himself and part of his kilt as he comes into this scene. The cat is just an absolute masterpiece and a great example for us because it's painted almost entirely using earth pigments. There's red ochre probably combined with a little bit of black or possibly a brown which would be like a cooked version of iron oxide when you heat it up it gets darker and you get brown shades for that way and there's also shading in yellow ochre to give us some of the cat's stripes, lots and lots of marks of red and brown to indicate fur and just this marvelous attention to detail. You can also see the use of red ochre in the butterflies, in the leg of Nebemun and in some of the foliage around and then also you see that use of the red ochre, the deep red ochre for outlining. Here's a closer view just of the cat and the butterfly and a couple of the birds and it's really marvelous this work here. You can imagine that the artist who did this spent some time sketching and drawing cats and really observing the birds and other natural things that are depicted here. All of the textures are believable. The motion of the cat is very believable. I love the treatment of the claws. They look very much like this is someone who might have had cats at home and study the way that their paws work before undertaking this work. It truly is a masterpiece and it's a wonderful example of ochre being used. The last thing I want to mention as I close is that one of the great advantages of ochre is that it's a very strong color. It doesn't take very much to leave color on something. It blends very well and it's incredibly permanent and light fast. It's not surprising that so many of these surviving works that we have include ochre and in fact modern artists still use ochre extensively today and it's also used in a number of industrial applications as well.


Hi everybody it's Sam here thank you for watching today so I'm going to be showing you how to make this really lovely bridge fold card. I've just made this during my Facebook life so I thought I would get straight on to making the second one for YouTube and I just adore it. I'm not sure if I can park this one so that's why I'm going to make one exactly the same so I can give that one away and I think I'm just going to keep this one on display this Christmas and maybe give it to somebody next year. If you're unfamiliar with a bridge fold card this is how they look they're very easy. This is actually an acetate bridge fold so it has that sheet of acetate right across the front so it gives the illusion of whatever you put on it is kind of floating or flying in my case because I've got the snowman and I've got that lovely Christmas at the bottom there or Merry Christmas which I've heat embossed and that's cut from glitter card and then you've got those lovely little critters there. The whole thing folds flat this is slightly bigger size this is six by eight however this playlist up here will take you to the smaller size bridge fold cards that I've got so try those out I've got a five by seven six by six and yeah you can still take this kind of effect and put it onto that smaller size lots of space on the back to write your message so let's make it. Okay so I've used bits and pieces here I've used the bright rose a snowflake border set this some fortune isn't available anymore but any snowflakes and again you might not be doing my kind of scene anyway then for the Christmas I've used my chunky alphabet die set and then for the Merry I've just pulled this one out here which is from a hobby art and then these are the stamps so I've used a bit from everything so I've used the the main image the hair and the owl again these ones I brought back in November last year at a craft fair or craft show so I'll see if I can find any links and then I've used the fox here but look at all these other ones you've got really really nice for the glitter here this is self-adhesive glitter so it's the Dovecraft A5 adhesive glitter card and again I'll link that it's lovely we've got all these different packs here so I've just pulled the silver and then for that gorgeous background which everybody loves it's my paper pad here which is the from the perfect pop-ups but you've got all these lovely scenes I've already used all of that one up I've used my red up I've used most of my candy cane I've got these ones left and I'm nearly down now to the last few of this one so here it is I've already cut it all I've already colored all these if you want to see me color these I done all that during the Facebook live and I'll link that below in the description box okay so to make this larger six by eight size that's for the envelope as well I'll show you that at the end so you want a piece here that's ten by six okay so ten inches long six inches wide and all you want to do is score along the ten inch side you're going to score it one inch two inch and then eight and nine okay that's all you need to do it's all the scoring for the whole card this then is the strip that I've got Christmas stuck on and this is eight by one and a half the width you need it to be eight if that's the size card you've made however the height of this can be whatever you want okay and then the pattern paper here what I've done is I've cut this this is the whole width of the eight inches an eight by eight paper pad but I've taken the whole eight inches width and all I've done is just taken a little bit off of the the scene at the top because the sentiment's covering this I didn't want to lose any of the trees so these pieces are going to cover this two sides and these these are one by six and then this piece to go in the middle is five and seven eighths of an inch I've brought it in slightly because it will buckle when the card folds otherwise so just bring in a little bit across the width five and seven eighths but the height is the full six inches of the card okay so that's all of your pieces okay so first of all you just want to fold and burnish these score lines so if you what you might want to do actually again because I don't want anybody having any card cracking I just quickly show you here if you've scored at one okay you scored at one and then two if you flip it over and score the two again only the two okay and also the eight just on that back side and what that will do is it will help because what you're you're actually going to fold these slightly differently so that you've got the one and the two the two inch you want to create a valley fold and then that one inch is going to be a mountain okay so you can see we folded one this way and one that way but because we've just scored on the back of the two inch one you shouldn't get any cracking so again on this side the two inch one or the eight is going to be a valley and then that nine inch one will become a mountain so that is now the the card shape that you'll have and what will happen is it will fold flat like that and that gives you your eight by six card size okay so next I'm going to stick this piece down so you'll see there because we've come in at five and seven eighths it you know it doesn't kind of catch on the sides so just worth taking that little bit off just for a nicer finish so I'm going to use the Kalau glue here so it gives it lots of strength and then I'm just going to pop that one down inside there then I've got a piece of acetate and this is six by eight and this acetate is going to sit along the whole front of the card when it's in that 3d form okay now the easiest way to stick the acetate down is by using red tape or a double sided it will be fine but I've got the red tape here because this is one inch wide these sections and this is a half inch red tape I only need to do two strips on each side and that will cover that whole section and whenever you're using the red tape just go over it make sure you push all the air bubbles out it will go much darker in color and that means it's completely stuck to your cardstock like so what I'm going to do is take one end off the festival so I'm just going to do make sure it's the right way up so I'm going to do the left hand side festival okay and then grab your acetate and just line it up like so it's just stuck down and then if you fold this one over you're then going to stick the acetate down over the top of this side here so again I'm just gonna you don't have to add the acetate as well that you know it's completely optional just because I'm sticking things onto the front now if you kind of roll the acetate keeping this all flat and then lay that down that way you know it's going to fit in your envelope and then if you do have any acetate overhanging I've got a tiny bit turn the card over and just cut that overhang away now you can start to see there you go get better view of the the acetate okay so now I want to cover the acetate with these strips here okay again just gonna lie down lay it down flat line this up at the bottom and then just follow that up so again start from the bottom and that way if you've got any overhang on the top you can just trim it away but I'm happy with that okay then I'm going to decorate now this strip here so I've got all of my letters and I'm just going to evenly space those out and these are self-adhesive but because I'm sticking it onto the card stock I will add some glue but it when I'm sticking these snowflakes actually onto the acetate then I'll just use the the adhesive on here because that will stick quite well but just with the card I just worry that it might lift over time so I like to lay everything down first of all make sure I'm spelling it correctly so kind of get them roughly you know evenly spaced just so that that way when you go to stick it all down you know that they're all in place and you're not going to start sticking and then stick them too close together and find out then you've got a quite a big gap at the end but I'm pretty happy with that I think that's good so now I'm just going to take the backing off of these it's pretty easy to do there we go and I'm going to use the cullow glue because it gives me a nice amount of wiggle time so I can always move them a little bit if I need to and just stick that one down there and keeping that same gap I'm just going to work my way along okay so I'm really happy with that that looks great so now I'm just going to stick that down I'm going to use some foam this is my Arteza very long roll it's very good very sticky take the backing off and this will now kind of strengthen the whole card and still be able to fold flat so fold it down this end flat and that way you'll be able to line up the corner there I'm running this right along the corner and then just stick it down so again keeping that side folded whatever side you open so that side's open that side's folded then when it goes over that side's folded this side's open by doing it that way you can make sure that it all lines up and then again if you've got anything overhanging I've got a little bit on that side I'm just going to always cut from the back and that way you get a really nice finish there we go isn't that cool so now I'm just going to arrange all of these pieces so I've already put foam on the back like I said if you do want to see me color them then you can check out the Facebook live which will be linked below but I've got the little Mary there which I've already heat embossed so we'll pop that down I think I put it yeah just above the eye slightly off to the left there we go and then I'm going to stick the snowflakes down first of all so then I know the area I've got to play with beautiful snowflakes absolutely stunning so this one's going to come off slightly at the top there again turn it over at the back and just snip off it's only that one yeah like so and then I had this one it's going to go just here and then I've got the smaller one it's going to go just down here and then the main image which is a snowman and I've been informed that he's called James from the story so he's going to go just there and I love the way it creates the shadow behind can you see there I love that I think it just yeah simple things and then I'm just going to take the backing off of the owl now the owl I actually popped inside so again you're just creating that scene that background and the foreground pop it on your pokey tool in that way you can kind of pop it in here and you can just move it around position it how you want but I'm going to have him kind of just push that down and then these lovely two here so I've got the hair and the fox are just going to sit as if they're sitting on the top of the word Christmas there so just and the foams the same height as the foam that I've used to stick this down so everything is all lined up that just balances everything out and completes the card isn't it gorgeous I'm very pleased with this one okay so let's do the envelope I already have my envelope for that one there okay so you need a piece of 11 by 11 for this size and it's on here and it's your six by eight you can see just the second one from the bottom so a piece of 11 by 11 it's telling me my first score line is at four and seven eighths of an inch and pop it in and I'm going to line this up with the four and seven eighths of an inch marker punch and score okay I've got the older board it doesn't have the extender arm but you don't need to worry about that get it down as far as you can I then like to do exactly the same on the opposite side and I find by doing it this way I always get perfect results again so you'll see now we've got these notches and these partial score lines then you're going to work on the other two sides so pop this one in ignore all of this now all you want to focus on is this notch lining up the corner with this score line there's a score line here so I'm bringing it up so it lines up this bit here perfectly with the score line punch and score you'll see when you score you meet the corner perfectly there and then I'm going to repeat on this one again ignore all of the top corner there lining it up this here punch and score a little bit of waste there she can just get rid of but now you have this piece and just pop your stylus back in there next if you just burnish the four sides and then I'm going to use my red tape because I've got it at hand I'm just going to run some tape along each of the sides and make sure it's all stuck down well and then I'm going to make one of my bouncy envelopes so all that means is that you put the card inside the envelope first before you stick it down so you'll see now when you pop it on its side it will fit perfectly within the center there of the envelope next bring in the sides and you will bring them over any bulk that's in the card because obviously there's a little bit of dimension to this but by bringing it over you're creating a bit of a bounce to the envelope so I'm just going to take the backing off and then I'm just going to bring up the bottom and then stick it down okay now if I take this card out see it's got a bounce so now you know that that's going to fit rather than you making it without putting the card in first that would be quite flat so that you know it would be just a very flat envelope and you would probably find you'd struggle what I also say is whenever you've got any kind of decoration is always then put it in the envelope so it's facing away from you and that way nothing's going to catch on all of these pieces you'll see now just goes into there perfectly and then I'll just finish off with a little bit of tape on the top and now that's all ready for me to seal once I've you know wrote inside the card so again I just pull that one out there you have got two beautiful cards with matching envelopes and like I said one of them I'm keeping for myself for a while and I will sort out something nice to pop on the back there I will probably die cut some more of the snowflakes pop a couple of them on the back there and like I said yeah I'm going to display one and give and send one to a friend so thank you for watching I will link as much of the product as I can in the description box below and I'll be back very soon with another tutorial see you