Hi everybody it's Sam at Mixed Up Craft, thank you for watching my tutorial today. I'm going to be showing you how to make I guess it's a floral envelope exploding envelope, I'm not too sure. Basically the inspiration has actually come from my mum and she's made this so she's very kindly allowed me to take this one to show at you know at the beginning of this video here and I'm going to recreate one and I just as soon as I saw it hers is for a birthday but I thought this would be a beautiful Mother's Day card you know and it's lovely again anything I find where you can add flowers is a great alternative to take to someone who's in hospital because you know most hospitals now you can't take real flowers so having something like this again sat on the side table I just think it's absolutely stunning so my mum was asked to make this one from her friend who wants to give it to her mum so you can see there she's done this lovely little sign on a wooden stick and it says for you mum 75 and then you've got happy birthday there but the whole thing opens up to form a card so it's you know it's all together there and I just I thought it was absolutely brilliant I said mum I'm gonna have to copy it and she was really kind of touched she said oh I love that you're gonna I've inspired you so thank you mum because I think it's absolutely beautiful so basically the basics of it are a envelope so and then you stick it onto the back here so I did play around and I was just you know testing some other sizes and stuff and I've done this one here and I thought I'll try it a bit thinner because really you stick everything you know outside the only thing that's really inside is this little stick and this here which is just from the pound shop I've actually got a roll of this as well and I use it for when I cover you know and wrap hampers and things but it's perfect and you can just see there I just cut a piece off so that's really what goes inside sorry it's quite noisy what goes inside there but you can see when it's quite thin it's a bit too bulky I can take that down I'm certainly going to use this but I just wanted to show you a thinner version but I think I'm going to go for this thicker version here so my mum's actually done hers hers is three quarters of an inch deep so I'm with those measurements in mind and it's an a six size so it's yeah it's just under six by four sorry four and a half yeah so a six and yeah I just thought let's you know stick with a more thicker size because I think that works well and I think it can stand well because you've got quite a lot of weight and bulk here it does work better to have it thicker but I will do something that I think I'll probably decorate this with maybe more paper flowers rather than 3d flowers so we'll play around but I'm going to keep that one there okay so I'm going to be using the envelope scoreboard today these are really good you don't just make envelopes with them you can make gift bags you can make embellishments like bows and things like that you can make obviously gift boxes 3d envelopes so you know if you don't have one of these and you're kind of thinking well I don't just want one just to make this card you can do a lot more with them and also if you don't have this just have a little look on youtube and I'm pretty sure there are loads of videos showing you how to make a 3d box envelope I do have box envelopes on my channel but they are boxes to hold your six by six or five by seven dimensional cards so they're not in this kind of shape they're more of a box with like a flip lid okay so to get the size that I want so near to what mum's done there you want a piece of cardstock that is eight and seven eighths of an inch squared okay and then we're going to use our stylus here and I'm following the five bar which is the four by five and a half here so it's saying the first score line it's ignore this the paper size there because basically I've gone by that but I've added an inch so that's seven and seven eighths this is eight and seven eighths but your score line is at three and three eighths I'm going to pop this in you're going to run this along here to it's at three and three eighths okay punch and score don't worry if the stylus doesn't go all the way down get it as close to the edges you can if you've got one of the newer ones like the one two three punch they will have the extender arm so you know that's not a problem then what you want to do is shift this along to four and three eighths so all the way along to four and three eighths and again punch and score okay so we've created one of the long sides now what I would usually do is flip it and then work on the opposite side but because I don't want to score on the other long side I want that to stay completely score free because it's the piece that stands up so you don't want to weaken it by adding score lines which we're not going to end up needing so what I'm going to end up doing so we've just done that is I'm now going to rotate it to the ends of these score lines pop them in here and you're now going to use this piece here which is the score guide line it up with the first score line punch and score and then move it along until it lines up with the second score line so it'll actually cross over with the one you've just done so again punch and score okay so now we've created one of the sides and one of the long sides so again we don't want to touch this opposite end to the longer one so now we want to go around to here so what you're going to do is pop it in on the sides you'll have a side where you've got score lines you'll have two sides where you've got notches and you'll have one where you've got nothing put that side in but now you're going to focus on this line and this area here and you just want to bring it along until the corner here meets up with the score line here so just put your stylus in there so that corner is you know sits right by it and then punch and score and the score line will join up perfectly there meeting this top of this score line here and then just slide it along again until this one is sits within that score line and again punch and when you score it will join up perfectly with the corner there and that's everything so if i just move that out the way you can see oh sorry and then because now we need to just add the notches into there so you've got notches there here and here but you need to add them into that piece so just pop it in here line up this with any of the score lines so this one first or that one it really doesn't matter and just punch it you're not doing any scoring you're just punching like so so now we've done it so if i just get rid of all these pieces if i just lay that down you can see what you've got so you'll have this whole big area here which if i come and lay mum's card on top sits perfectly in there like so okay so you'll have that where we're going to be you know doing a lot of our detail and then you'll have score lines on these sides here so now you just want to fold and burnish those score lines okay and then we need to do a little bit of cutting so again you've got your large area there we're working on the bottom the opposite end you're just going to cut up just to kind of loosen put free up that so it becomes a tab and again just cut straight down to that kind of first score line tidy up the edges just so everything stays nice and straight and then what you can do is just take off a little bit of that kind of end there like so so again if i just just lay that down and see what i've just done there okay so you're just freeing them up now the opposite ones here we're just going to cut away completely okay so again i'm going to lay that down but that's now what you should have okay so then if you bring up this side and bring up the base there is our envelope but with the top part staying upright again if i just lay this down next to it you can see there i think mums might be a little bit taller yeah hers comes up a little bit higher but that should hopefully be enough for when we fold our A4 in half yeah we will be able to make our card base okay so that's where you need to be right now okay now i want to i want to add some mats and layers well just mats to mine so i've got this really nice pattern paper which is from this one here look this one here yeah which is the watercolor feelings from cross sensations i shared these a few weeks ago in one of my what did i get videos from the range and they were two ninety nine i think gorgeous it's got foiling running through it but i've used this one here it does also have foiling in it they do one where it's kind of matte and then there's the same one with the foiling through but i thought i'm going to just go with this one for the minute because there's going to be so much going on i didn't want to go two over the top but what i'm thinking to do is i'm laying this on the top here and you can see i've got this border about a quarter of an inch maybe not quite maybe do i want to have a little bit more maybe yeah maybe a little bit more there you go that's more like a quarter of an inch and then what i'm going to do is with my pencil so i'm just going to add a pencil mark there so again for anybody that can't really see what i'm doing here the actual measurement that this will be is eight and a half inches squared all right so let's get that cut first right so now if i sit that inside this piece you can see i've got a nice yellow border okay so now i'm going to punch and score that piece the same way all right but this time it's just a bit smaller so i would also say that you want a pattern that isn't directional so something where the pattern's just all over the place because you're working with you know angles and triangle shapes it's easier to have something that will just work no matter which way you turn it so i'm just going to lay this down in here because it should still work the same way as before so let me just check the yeah so you just want to punch at three and three eighths of an inch punch and score and go right the way down on that piece and then i'm going to move it along to four and three eighths punch and score okay then i'm going to because i don't want to keep that piece again there's one nice piece in the center because i'm going to use it inside the card so i'm going to have it all here or even here and then have a white piece where i can stamp and write my message so that's the long side so then i'm just going to work with the short side so again it's hard for you to see the pattern here but i'm just using this piece here so just line it up with that first score line punch and score revert back to just rewind the video if you you know are thinking well i can't see this um so i appreciate it is hard for you to see but i'm just doing it exactly the same process as i done before so now i've got that long end with the score lines and one of the short ends again i don't want to do that opposite end so i'm now going to go around to here and i'm going to focus down in this corner just as i did before and then bring this one along and this is how i think you'll get really nice mats to fit and this final one i just need to just punch i don't want to score so again now if i remove all of that bring this piece back in i'm going to fold and burnish all these score lines and then i'm just going to cut it all apart and use these pieces to match the yellow okay so now you can see on this side the same so again if i sit this over the top you can see how it fits inside there like so but this time what you want to do is just cut away so let me grab my longer scissors if i go this way up i'm just going to cut this one in fact i think i'm going to use my trimmer just so you get a nicer finish i'm just going to put this in here and just line up that one there so the idea is that you'll go on there actually now you're going to have to bring it down so we'll take a little bit off in a minute so let's just go still working fine so let's just take all of these ends off let me just lay this down so you can see what i've done so we've got like that and then i've removed these pieces completely okay so you're going to get rid of these you'll have that whole big piece which we're going to have to go inside the card i think that's going to make a really nice it's just going to really complete it and then we've got these pieces so they fit over no that one no they fit perfect actually no that is fine it's the side ones i think we've got to snip a little bit so i'm just going to tidy off the ends here because you want to stick these down before we actually stick the envelope together once we've done that the rest is really really easy to do so now that will stick on the front there and you'll have that border and i think it looks really nice because you know i like to do borders i don't just i don't tend to just do things out of pattern paper at first so i always like to do plain and then do my mats and layers but these ones for some reason yeah they fit perfectly but i want to obviously have that border so if you just bring it down like so i'm just going to put a pencil mark there there and there so you're going to have to do a little bit of trimming on the side ones i'm not too sure why they've done that so i've just assumed everything would have worked out the same but if i show you how i do it all then you'll be able to do the same okay so you can see now what i've done i just wanted to create a nice border so now with that piece i'm just going to sit that over the top of this one and i'm just going to cut that one away okay so now we want to stick these on first before we actually attach the whole bag okay and then this piece here just prepare it for when we go to stick it inside so you'll see there you'll get a nice border but i'm going to just bring it up a little bit because mine's coming right down to that score line and i don't want it to be that long and then i'm going to use this as a guide to cut a white piece for inside so this is going to go inside the actual card but i want a plain white piece to go inside here so that when this all comes up isn't that nice i think that looks really really pretty so i'm just gonna yeah that's all ready to go i'm just going to grab some white card and i'm just going to mark with a pencil where i need to cut this so just lay it down there put a little pencil mark there and then there and then a mark there and there and i can just get that cut so this is where you want to be so hopefully by me showing you what i've done there you should be able to do that yourself but i've got this this pattern piece is going to go inside like this just to carry on the you know the pattern and then this plain white piece i'm going to now going to stick inside here if i flip it over so i've got any pencil mark on it just think it's nice to have the flowers against white so they really stand out okay so i'm going to keep that piece to one side now i'm just going to add some blue to these tabs and just bring up just like we would a box just bring this one around it's a little bit obviously difficult to get your hand in because of that piece there but if you've got a rude or something you'd rather use that you just want to hold that there a minute just so you've got a nice right angle a corner there to the bottom of the envelope okay and do the same on this one here just bring it up just keep your kind of hands in there pushed in there or like i said use a ruler if you can't quite get your hand in okay and now we just want to add some glue so again make sure the base is stuck down perfectly but you just want to add glue not right up to the corners just down all the sides here don't go right up to the top because that will overhang a bit i mean it's all going to get covered with flowers a lot of this so don't worry too much but just bring it up and again keep everything keep your sides nice and straight you want it to all be you know nice right angles here so this is all straight and you kind of have to it is a bit um i said a bit fiddly but again if you get a ruler push the ruler in push it up as you push your hand down and you'll be able to make sure that's all nice and stuck and there we have it isn't that beautiful i'm really i'm pleased with that so what i would suggest now is i mean it's up to you whether you want to add the base now or after you might feel like you want to decorate it like that but i'm going to do my base now and then you can decide how you want to do it this is just a piece of a form i'm just folding it in half which is about five and seven eighths of an inch okay just fold and burnish and then you can sit this on the top you want the fold you know obviously to the left and then you can sit this on the top and you should have a little bit that you're trim off but you can either now with a pencil draw around this or you can stick it on and then cut around it which is what i done and that's what i am going to do so it's entirely up to you now mine is a little bit off um a little bit too tall at the top so i am just going to just cut a little arch on the top of mine there and that should hopefully yeah there we go perfect so i've just brought it down because i thought it should be the same height i mean if you've got a corner rounder i could have just used that but now i'm just going to stick mine onto there and then just cut around it so it's up to you trace around it and cut it or do what i'm doing okay so now i'm just going to cut so i've got both pieces together this is a thick 300 gsm so you know this is you know two layers that i'm cutting through but these scissors are nice and sharp so they can do it okay so there you have it so now that piece will go in here look i think it looks really cute like so what i will do is i am going to grab my little corner rounder here just to the top and i might just tidy up i don't know if they will go in because i did cut them oh yeah there we go that's better so you can just tidy them off let's do that one as well stick that one in there and then i'll just cut a little square well not little but i'll just do like a square piece in here where i can stamp and i've got room to write something you might want to pop it on that side if you want but i quite like it in there just carries on that pattern throughout so there is the envelope card okay so hopefully that was straightforward enough but now it's that fun part of decorating so i've got some of that cellophane what i might do actually is use this one for the minute i'll show you this is how it comes there's a nice big roll and i'm pretty sure it was the the pound shop i can picture it down by all the craft stuff and things if it wasn't there it was the works but i'm i'm sure i can picture this in the pound shop so i think they had a stripey one as well but you get loads of it um and like i said it's obviously for like wrapping hampers but i've just cut you know a piece there i'm gonna play around really lay you need to lay all this down first of all because this is the back and then you're going to build on top of that i've also gone ahead and already done this one i've used again one of the wooden with loves that i've used already in this series i did say that the paper poses was going to be used a lot throughout the mother's day series and the papers would look lovely on this kind of project but it's just one of these sticks which i buy trim craft i think and um you can see that's gonna kind of i'll put this probably in last because i want to work the flowers around it but i don't think i want it as high as that you just want to kind of push it in you know fine with these things if you play around with them too much you get frustrated whereas if you just shove it in and let's see where it lays that's probably how it should be so i'm just going to stick with it like that for for now i quite like that because you can pull a few bits out as we're sticking everything else to it but you do want to add it's up to you whether you want to put hot glue because it's obviously going to melt so what i'm probably going to do is take that out and add some double-sided tape just like in the back here and just down inside a little bit just so it's got something to grip on to so you want is it sliding out so at least now i know that's not going to go anywhere there we go i've got a little bit of a point there a point there and a point there there's the wooden shapes that i've used and then i've just gone and grabbed a load of my paper flowers my artificial flowers leaves die cut leaves i have a lot of things from projects left over like these are all bits that i've just and i think these colors are going to work really well so i did pull out some of my favorites but you just want to start i would say playing around first of all you know kind of picture that way you want it to be i mean if you're happy to put it in at this point then you can think i'm going to have it kind of like there and then you want to lay your largest down first and then start building everything out on top and then you know the leaves and things like that you can kind of slot in where you know wherever you want to kind of have them cascading down a little bit so i'm going to pop this all on high speed now and just enjoy and have some fun okay so that is what i've done i really really like this and then again let me just show you mums i think they're stunning they are absolutely beautiful cards so i'm just going to have with love because i'm not this isn't going to be my mother's day card because my mom watches my channel and i will make her a card and i will yeah do all that separate but you can easily put your happy mother's day here you could have happy mother's day there you could have happy mother's day inside but i'm going to keep this playing because i can add you know like you can add the number to make it a special birthday so if someone does maybe say to me you know sam i'd like a card for my my nan's 80th i could you know put 80 there i could have another little kind of you know plan to stick there with with 80 on it so i can still add to it but i am going to add some of my sparkle using the spectrum noir spark pen i can't remember which one is my newest because i took the thing off yesterday i think it's this one but just brush it over it goes on darker but then it dries completely clear and your card will go back to its you know original color but it just adds you can put it on anything you know it will take to most surfaces and um yeah even on the leaves there covered it it actually looks wet more than glittery but that will all completely dry and you'll be able to see that really nicely in the photos but you can see just how much shimmer now is on those leaves i've just covered everything but i think it looks beautiful so a huge thank you to my mum who was today's inspiration and i know her friend's mum is going to love this i just think it's absolutely gorgeous and my mum's just used lots of the you know the well she's got paper flowers there these are silk flowers then she's got some die cuts here these are again like little ribbon roses paper flowers this is really pretty these are like some metal like wired leaves that can bend there's one down there as well and she's got some others there so you know have a look at what you've got and she's finished it with the flower at the top there as well i think it's just gorgeous so yeah they have it two very pretty cards i can't wait well i know one of my friends she always comes and just gets loads of cards from me and i think she's going to snap this one up although i'm kind of tempted for the moment to keep it displayed in my room because i really do like that one but anyway there you have it i think they make perfect mother's day cards and i hope you agree hope you've enjoyed today as always please give me a thumbs up and consider subscribing so you get to see more fun tutorials and i'll be back again very soon with another video bye


So we're going to continue looking at kinematic variables using the velocity equation and we just looked at volumetric flow rate. We're going to end by looking at three different ones but we'll begin with mass flow rate and once you determine volumetric flow rate, mass flow rate is relatively simple. In this course quite often we'll refer to that as being m with an over dot or you'll hear m dot and that will be mass flow rate. So mass flow rate or m dot is the integral over a surface integral again. So look back to the segment that we just had on volumetric flow rate but the only difference here is that we put the density into the integral so we have the dot product of the velocity multiplied by the unit vector which is normal to the surface and then integrated over the surface of the object that we're looking at or of the body. Now it turns out that if rho is equal to a constant then what you can do is you can pull the density out of the integral and you would have something that looks like this and if you recall back from the segment that we just looked at where we evaluate the volumetric flow rate that means that we can write it in this way m dot would then be rho times q. So that is mass flow rate. The next one that we will look at is rate of volume expansion per unit initial volume and so with this one what we have is 1 over v and quite often in fluid mechanics you'll notice we'll use a v with a line through it to denote volume that would be rate of volume change expansion or contraction with respect to time per unit initials that's why we multiply it by 1 over v. Now in fluid mechanics we can express this with an operator del dot and del dot is the divergence and it is the divergence of the velocity field. So divergence which is there or sometimes you'll hear it here it referred to as being del dot and we can write that out that's a dot product. So del dot is expressed as that in terms of partial derivatives of our three velocity components uvw and if it turns out that we have a flow where del dot v is equal to zero this would be the case where the volume does not expand or contract in the fluid flow and that is what we would call incompressible. So if you're dealing with a fluid mechanic problem and they say the flow is incompressible that tells you immediately that you're dealing with something where del dot v is equal to zero that is for an incompressible flow and so that is sometimes something that you'll need to remember when you're dealing with incompressible problems but that is the rate of volume expansion previously we looked at mass flow rate the final thing we're going to look at here is going to be the angular velocity and angular velocity is another thing that's important in fluid mechanics it's related to the vorticity if you recall from an earlier segment where I talked to you about why study fluid mechanics we looked at the inlet to an engine triple seven engine you saw swirl flow angular velocity quantifies vorticity there'd be a lot of vorticity in the region where you had that vortex but the way that we define angular velocity we do that by determining the velocity field to begin with and we use the symbol omega with the vector and that is equal to one half del cross v and this is also sometimes referred to as being the curl of v so if you hear del cross v or curl of v that refers to this operator here and we can expand that out I j k and then the second row we have partial partial x partial partial y partial partial z and then the third we have u v w and so with that that would be the way to determine the angular velocity which again is related to vorticity in a fluid flow now if it turns out if del cross v is equal to zero that is an indication of a flow a special kind of flow that we call irrotational and if it turns out that if we have a flow where del dot v is equal to zero and del cross v is equal to zero that would be a flow that is incompressible and irrotational and that is a special subset of fluid mechanics that we refer to as being potential flow and we will be looking at that later in this course you can do some interesting things with potential flow but it only applies if we have these two requirements del dot v equals zero and del cross v is equal to zero so those are some things that you can do with velocity we looked at acceleration we looked at volumetric flow rate we looked at mass flow rate we looked at volumetric expansion and then finally we've looked at angular velocity so those are things that you can do with the velocity vector field and we'll be using those throughout this course


We've been using Numbersign Include all throughout this course. When you include StandardIO.h, it's as if all the declarations in the StandardIO.h file were copied and pasted into your file. In any large project, your code won't fit into one file. Instead, you'll modularize your code with separate .c and .h files for each part. Consider this header file that begins with a type definition for a time of day, a specific hour and minute, and the hour can only be from 0 to 23. This other header file has a type definition for a duration, a span of time that can go more than 24 hours. Each data type has an associated set of functions. Notice this declaration in duration.h that uses the time of day structure. This has implications for how we write our code. Time of day.c has to include time of day.h, and duration.c has to include duration.h. Duration.h also has to include time of day.h, because that function we highlighted needs to access a time of day. We know that this has to happen because we've designed it this way. But what happens when someone writes a program to use functions from both these libraries? If someone's unaware of the way the inclusions are designed, they'll include both .h files, and that will result in time of day.h being included twice. We don't want that to happen. We need to use preprocessor directives to solve this problem. Here are the files. On the left is our C program, and on the right are the two header files that it uses. In order to avoid including time of day.h twice, what we're going to do is we're going to use the if not defined preprocessor directive, and see if something called time of day h has been defined or not. If it hasn't been defined, that means the preprocessor will include everything in the file up to the closing and if directive. And the key to making this all work is we are going to define time of day.h. By the way, it's a convention to use the name of the file in uppercase preceded by an underscore. Now that we've added these directives, let's see what happens when the compiler looks at the C file. The first thing it does is include time of day.h. Has this been defined yet? Nope, it's nowhere in our program so far, which means that effectively all of this material in here will be copied and pasted into our C program. The preprocessor now goes to the next include, which is duration.h. Duration.h also doesn't include time of day, and the first thing the preprocessor asks is, is there something called time of day h? Let's look at our program. Yes, it is defined, which means we are not going to do any of this again. It doesn't get copied and pasted again, and then the rest of duration.h does get copied and pasted into our C program effectively. Now we've solved the problem of having the time of day.h file included more than once. In fact, it's a good idea to use this if not defined trick everywhere, because you never know when you or someone else will be including your file inside another .h file. Let's do the same here in duration.h. We'll have the if not defined, the symbol will be the name of our file all in capital letters with underscores before and underscores instead of a dot, and we'll define that symbol and put an end if at the end of the file. And that is how to safely include multiple header files in multi-source file programs to ensure that no header file gets included more than once.


So this is a recording of a similar, if not exact same problem. The only thing we're doing is changing the acid from nitric acid to sulfuric acid, okay? So let's repeat this problem, changing that a little bit. So it says, what is the molarity of a sulfuric acid solution if 68.5 mL is needed to react at 25.0 mL of a 0.150 molar TOH solution, okay? So again, if we were doing M1v1, we should get the exact same answer as we got last time, right? But we won't, okay? So let's just do this and make sure we don't, okay? So I'm just going to step through it just like last time, okay? So we start here with milliliters, molarity, milliliters, right? Valarity, you recall, we like to write as moles per liter. And in this case, it's KOH, so we'll use that as our kind of placeholder. So liters down here, mills up here, so we're going to want to convert to liters, okay? So KOH, 2000 mL, 250 liters KOH solution. So how many moles do we have in that amount of liters? 0.025. The same answer as before. In fact, last time I put 3.75. There's three moles. This time we've got a 2 to 1 ratio here. So that's the point where you're going to change. So 2 moles village to 1 mole sulfuric acid of sulfuric acid. We know the mill for the volume of sulfuric acid. The moles divided by the liters. In this case, I get 0.0274 molar sulfuric acid, okay? So hopefully I've convinced you. Okay, are there any other questions on this one? Are any questions to begin with? Okay, so these are the hardest types of problems that you'll find, I think, okay?


Welcome to theCUBE here for special presentation live in San Francisco for General Electric GE's Mines and Machines Conference. I'm John Furrier with SiliconANGLE, host of theCUBE and our guest here is Gladys Kong, who's the CEO of Uber Media, formerly the CTO. Welcome to theCUBE. Thank you very much for having me. Great to see you and talking before we went here live. You're the CTO of the company. Now the CEO, this is a Bill Gross company, he's a legend in the industry, going back to the kind of the invention of paid search, one of the couple guys. I was in the mix with him, Keith Thier at Real Names. But at that time that changed the digital landscape, which became known as paid search. And he's got that DNA. But that at the time was not laughed at. No one even thought they would. Yes. Paid links with you. I used to remember that, yes. That became changed history. Hence Google, now we got fake news that Google was pushing, again disruption. Yes. But he started Uber Media. Okay, now he's working on energy. You took it over as CEO. Yes. Take a minute to describe what is Uber Media. So Uber Media is a data technology company today, helping use mobile data to transform into business insight to help company do marketing, measurement, or just business intelligence. And we've been around since 2010, and in around 2012 we've pivoted into this current business model. And I remember when Bill started the company, he was really enamored with data from day one. Yes. And at that time, in 2010, because we had still started SiliconANGLE, all the data geeks like us and Bill go right to the Twitter fire hose. Yes. And I know that that's evolved now over media because Twitter really didn't have a good developer program, killed everything out there that's a business, but still the data's relevant. Right, so. Take us through how you guys got to today. How does it work? What's the value proposition? Absolutely. So the roots of us being a mobile app developer is really helpful because at the time we were collecting everything to try to improve the user experience of our own apps. We tried to use the signals to learn what people like, what people don't like and target better ads to them. And as a result, we find out the insights of how powerful the potential of such data. So today we're using it to help not only marketing businesses, but businesses all over brick and motor stores and everything, but to help make better informed decisions. Yeah, we have a Twitter implementation where we're talking about what we've done, but we could never sell it because the customers weren't ready for it on this journey of digital transformation. But this notion of data clouds are emerging. You guys have built a significant data presence. And the data's happened, it's happening and will happen. So there's the past, the present and the future. How do customers realize this now? As they start to operationalize, put their toe in the water. I think it's very early stage in terms of using mobile data today in the location data, but businesses are realizing how important the real-time aspect and the abundance of data available for how to help them make decisions. So they're learning a lot. A lot of times we sit down with the customer, we listen to their use cases and then figure out how we can best out, choose crafting solutions together today. I was talking to Dave Vellante, who's not here, he's on the East Coast. He's my co-host on theCUBE. You've seen them in the videos. We're talking about that. And we always joke about the old mindset of a developer was whether you're doing websites, microsites, or apps. Oh, that's easy. The most important thing is the UX. We'll just slap a database on and we're good. That notion of building a database to the app and going down, it's the 10 different apps, 10 different databases with 10 applications is changing the notion of the database. It's been the key disruption. And Amazon Web Services, for instance, is putting a herding on Oracle right now and even an open source. This is changing development. How do customers need to think about the database and data going forward? I think the biggest change is the amount of data. We're talking about terabytes now. We're not starting a hard drive. You have to think about scaling and the real-time aspect and the filtering process, all that. And I think it's just a different scale. It's just a company have to start with that mindset of dealing with large scales of data. Instead of starting with one database, it's really have to really expand quickly and then the cost of it too. So one of the things that you guys do I think is really interesting for the folks watching is you're good at collecting data. Yes. And it's hard for companies, even to grok and get their mind around what it would take to even collect, never mind the mechanisms for collecting the data. That's one of your key value propositions. Talk about that dynamic. This collection, what to collect, and how to collect it. So I think there are multiple facets to that. The source of the data, you first have to identify whether the correct source of the data and then the type of data you're collecting. Even location data, you can look at it. Is it precise? Are you looking at GPS data or are you looking at IP derived data? There's big difference. And then the way you're collecting it is it accurate data. People reporting GPS or are they reporting a static location? So those are all things that you take someone to really dive into, understand, and the filtering process. And also then analytics, how do you turn it into useful business insights? Transforming a set of raw data into insights also take a lot of understanding of the business use cases. So here, G, they're showing obviously things like the twin, which is the digital twin is like an agent of bot. But bots are hot, you're seeing the bot movement, which essentially is just a front end to automation. Of data, it oversimplified. But for the most part, that's kind of the idea. How, I mean, how are companies working with you guys in particular? Because I can see the benefit of saying, you guys know how to collect data. You have access to maybe data or it can help us understand what to collect. But now to put that into motion, to put it into their operations, how does someone get that benefit? And be specific, how do you guys help customers? So every company is looking at how to use that data because they know it helps them. And the wide range of use cases, some of them like auto manufacturer, they like to find targeted customers that are in market already, but not just in market. If you're in market in minivan, they don't want to show you their European car ad. So being able to understand what customers are looking for and also to look at the competitors and to understand that, which is what the mobile data allows them to do. So that's one type of use case, hotels, right? They always look for customers. But if I'm a business hotel, I like to look for business travelers that frequently seen at airports. So that's another type of insights that we could gain from that. So when do they call you guys up? And why do they call you up? Do they say, hey, Gladys, just come in and do everything for me? Or they come in with a specific use case? It's usually is they want to move the needle. Every business want to move the needle. And if our data can help them move the needle, even 1%, 10% is huge to their business. So usually they come in and then we identify what's the biggest opportunity to use the data to move the needle in the business. So you come in with a consultative kind of approach. To start just because every use case is so different now, at some point we would like to offer product suites. That's a lot of problems. Today we've seen what that's it. And you bring data to the table for them? Absolutely. Through apps that you're providing. And then sometimes in conjunction with businesses, a lot of times have their own customers data or a subset of it. And what we augment is competitors data or other types of behavioral data they've seen beyond being at their store. This is where we always talk on theCUBE at every event we go to. When you have siloed data, it's not worth anything. No, I think you have to partner to make it more powerful and look at patterns that in a way that looking at it alone can't do it. So building a data lake is not going to do it. You got to have it flowing through some sort of extraction layer. I think so. I think having raw data is like having a bunch of random musical notes. You need a composer to put it together to make it into beautiful music. And you guys are the composer? We are. I mean, being an expert, we know how to put in this in a way that you can listen to. Beautiful music rather than noise. Let's talk about that. So we love that. Extracting the signal from the noise, extracting the music from the noise. It's like putting the musicians together. There's some synergy around the participants. You can't just say put people up on stage and play great music. There has to be some chemistry around it. So let's take that one step further. How do you do that with data? I mean, what's the best practice you've seen? Is there computer science techniques? Is it much more business process improvement? It's a lot of machine learning to extract insights out of data. And we often look at it as, how can you extract actionable insights?  It doesn't help you. But maybe you can use this hair product to help you. There's some specific things you can do to businesses that would help them make decisions. And I think looking at those and extracting actionable insights as well. Well, I'm excited that you came on theCUBE today. And I know that we got you in here because we want to sneak you in because the GE event's going on. But more importantly, you were the CTO of the company. Yes. And now the CEO, which I love because I think CEOs should be very technical and they should understand what's going on, not just be an empty suit or someone who's just a business person. Because there's a lot of tech going on. So I've got to ask you the question. What is, as a technical CEO, how do you look at the landscape and how should other CEOs that are out there look at the landscape? Because a lot of bets are being made at the same time. You've got to build some foundations and then build and iterate on top of it. Open source is a big part of it. Of the new software paradigm. What are your thoughts on being a CEO and being technical? I think every company needs to be a technical company today. And leveraging data, leveraging machine learning, leveraging data science to help make this decision is important. And I think synthesizing data and trying to just gather more data and more informative decision is quite important. And in our organization, innovation, innovation is what stays, keep us up top. We were talking before you came on that we both have CES undergraduate degrees. I got an MBA. I got a master's from UCLA, which by the way that's where the internet was founded. So they have a great department as we all know. So you have a dual CES degree, undergraduate and a master's degree. What's changed now? I mean, because right now you're seeing a lot of people going after computer science. Obviously more women and a lot of diversity, not enough, but we hope more. It's changing a lot because of the role of data, because of the cloud, because it's easy to build applications. Your thoughts on the role of computer science, what's changing? Good bet on the ugly. Your thoughts? It's good. It's evolving for sure. Just like when I graduated, the language I learned in school is no longer applicable, but it's the problem solving skills. It's looking at a problem, analyzing it and coming up with a solution. I think that applies no matter what role you're in. And I think that's what helps me the most in my CX background is analyzing a problem and finding a solution to it. Do you still code now? No, I haven't coded in many years, but I still believe that I could. It's just a matter of learning the syntax. You must miss it. I'm looking at how easy it is now. It's so easy to code now. But I love how we could do something. When we coded, we didn't have shoes. We didn't have shoes. We had to walk on the snow. We had to write in machine language. Of course, we're all kind of can say that, but no, in all seriousness, it's a lot easier with open source now, open source is tier one, and getting stronger every day. Yes. What's the coolest thing that you're working on right now that your company's working on that kind of gets the tech juices flowing? The coolest thing I think is using data to help break and mortar shopic decisions. A lot of times we help with online marketing, but how do you apply that to stores that are not maybe not even having online presence? So it's to transform, connect online to offline business. It's what we do. So machine learning, you guys doing a lot of machine learning? Yes, and then looking at location where people physically are going and if they're visiting the store or what interests they are and helping drive that type of decision making. So the big theme here at GE, mind and machines, and started out two years ago, around big data, obviously cloud, the head cloud boundaries involved, pivotal. But now you're starting to see AI as the face of the value where people can say, okay, I want to automate. It's going to help me drive my business. How do you define AI from your perspective now? Because you see GE as an industrial company. They coined the term industrial cloud. Now they changed it to IIoT. But they're bringing an analog world in with digital for the first time. Yes. So that's life. That's what's going on in our world, right? Yes, yes. You're bringing retailers. Yeah. Before it gets more powering life. Yes. Absolutely. It's analog and digital coming together. Right. Your thoughts on that vision in your commentary of AI. Yeah, just when you look around your house, right? You have a nest that control you. I mean, you have all this kind of AI already in your house. Today, when we talk about AI, it's really around you.  So today, I think it's already surrounding us and it's just soon we'll have self-driving cars. We'll have a lot of things that are programmed and in an intelligent way where you don't have to use human anymore to do that type of chores and tasks. And we interviewed an awesome professor at Santa Clara University at our last event. We're talking about the impact of AI and cognitive, the IBM event. And we need an algorithm to police the algorithms. Yes.  So like, who, how does this all get reconciled? That's the open question. I think that's where the evolution has to come in as you always, you open the flag gate where everybody's innovating, then you have to find out how to control the innovation into a way that is positive and helpful. Gladys Kong with Ubermedia, CEO of Ubermedia, formerly the CTO now running the show based in LA in Pasadena. That's right. I'll give you the final word. What's the vision? What's next for you guys? What's your preferred vision? What are you guys going to do? Well, we like to think every company in the near future will use data to make all their marketing, all their planning decisions because that's how you stay ahead. That's how you stay informed. So we like to push it that way to use data in a lot more companies with a lot more companies in the industries. Hey, how many employees you guys have? 62. Okay, so you guys are going to get some openings? Hope, hope, yes. Some tech, the machine learning coders, good luck finding them. Yes. It's more machine learning opportunity. Well, thanks for stopping by on theCUBE. Thank you very much for having me here. We appreciate it. I know you're in San Francisco for the day. I'm glad you can come down and visit us and join us here on theCUBE. Here are the GE minds and machines. I'm John Furrier. You're watching theCUBE. We'll be back with more live action here in San Francisco after this short break. You're watching theCUBE.


Hi guys and welcome to Monet Café. We're going to have a fun little lesson today on blending reflections for pastel painting. If you've ever been curious about how to do that, this is the lesson for you.  So these are the pastels that I've chosen, a various combination. I'll talk about them a little bit in a minute. But this is the photograph I'm using.  What a beautiful place. So now I'm going to go ahead and show you these pastels. I think some of you liked when I took a piece of paper and I actually show you each color. And those, I'm doing it in order from top to bottom of the photograph. For example, I'm just kind of going down in the photograph. But up at the top there, you see it's got some lighter. I'm actually seeing some yellows in there, even though there's some pinks. I'm going to be blending it with the pastels too. So I'll talk a little bit about that as I'm doing it. But pastels, you can actually blend them together. While you can't mix colors in pastels like you can in oil and acrylic and watercolor, you can kind of mix them by blending. And I'll talk about that in a minute. These are a combination. I think some of these, if they're larger and round, they're Sennelier pastels. If they're square and large, they're typically the Terry Ludwigs. Ludwigs, people say that differently. I have some Rembrandts in there that are harder. That's, I think that's a Sennelier there. And those darks are going to be the darks for the trees. I'm using a combination of darks. That might be an eggplant. I've got a dark, dark green, a dark, I don't think that's an eggplant. I think it was more of a dark burgundy and a dark, dark purple. Now in the lower parts of the water, I have kind of some neutral blues and kind of some neutral, like a lavendary type of a color. So the paper that I'm going to be using here is a sanded surface. If you know my channel and you know, I talk about sanded surfaces and it's pastel, LaCarte pastel paper. And it's called a pastel card because it is a heavy weight. I'm mistakenly in my last video, you probably can't see it. It's really small down there. It says 360G typically in a lot of pastel papers that are sanded. They have the grit or the roughness or the texture to it. And that's actually French there. I think I'm not sure what it's for, but on the back it's actually 200 pound. If you were to convert it to English weight of card, it's thick. I'm not sure of the grit. I could not find it on there, but it is actually a little grittier than say, for example, to compare it to UART paper. I talk about a lot of, it comes in various textures, but the 400, this one's more gritty than the 400 UART. I like it a lot. It helps me to stay impressionistic. And I'm going to be pretty impressionistic with this one because it's a little teeny, teeny painting, just two and a half by three and a half. It's called the art trading card size. So sometimes these chunky pastels make your painting a little bit more impressionistic, which I like. So let's get started here. Oh, and I wanted to share, I have a new little member in my art studio. This is the little kitty that I rescued a week or so ago. We had so many rains here, so much rain and storms. Oh, she just meowed that I was outside when we finally got a break. I was just playing with my dog. We're out on some acreage now. And I was just really, to be honest, I was just praising God and praying and looking at the beautiful sky. And I heard this little meow. And I found this little kitty literally almost drowning in a puddle of water. And I brought it in. I thought it was a boy, but it's a girl. For now, the name is Ginger. But if you guys can think of some kind of neat little artistic female name, that would be cool. Now let's get started with this very small two and a half by three and a half inch painting. If you're curious about the size, it's actually a standard size for something called A-C-E-O. Art, Cards, Editions and Originals. I like the name Art Trading Cards better. If you want to know a little bit more about them or the history, go a couple of videos back of mine. And you'll see I've been doing these small paintings that kind of suit my busy lifestyle right now because I have so much going on. But they, they're also kind of fun, you know, I really like them. I pardon for the focus messing up here. The camera's focusing on my age spot hand right there. But it's going to correct itself in a little while. It kind of focuses on whatever's closer to the camera. So bear with it for a little while and then it gets better. But that was just a new pastel. I was using a harder pastel to kind of get in that tree line. I'm correcting now. I noticed the trees, that big clump of a bigger tree on the right hand side. The trees were a little lower kind of going to the left. I decided to do away with that tree that's popping up there on the left. I just thought the composition would be less busy and it would draw the eye back further into the painting without that dark tree to the left there. So I'm just now using again those darker pastels that I put down on the paper to my left there. This is a combination of darks. I've got the dark kind of a greenish, a really dark green, a little bit of a magenta purple and also a dark purple. I'm going to be adding later. So what you want to do with reflections is whatever is above, you want to do a mirror reflection below, which is what I just did. If you were to turn this paper sideways, you would see it looks almost like a butterfly that has wings on one side and the other that match. And I'm not blending these right away, but I'll show you later how we make the reflection look more like a reflection in water by a simple little blending trick that you can do. Now I'm adding a little more purple on it. Whatever you do to the trees above as far as color, you want to add it below as well. Those colors are going to reflect in the water. So I put that purple in those trees. I'm going to add the purple to the reflections in the water as well. And you want to keep this loose and free.  Okay, so now I've got my darks in and I've got that background sky kind of going with those blues. Now I don't know if you remember I was talking about how you can actually blend pastels almost like mixing color. Those, if you notice the blues that I used back there, I've got a dark, you know, almost, it's like a really, that darkest blue, not the teal blue I put down and then I put the teal blue kind of on top of it. I'm going to be adding and blending those a little bit more, too, because if you look at the photograph, go over and look at that photograph. Look at the blue that's right above the trees. If I was to add just that teal blue, it would look kind of flat and maybe a little dead and boring. So that's why it's good to blend some colors together. I was like, you know, I want a richer blue, but I've got to tone it down in value. So that's why I did the darker blue and then the lighter teal blue on top of it. I'm doing the same thing with these pinks now. I've got some pinks, some kind of peachy pinks and more true pinks going on here. And again, whatever I do in the sky, same thing down in the water. So I'm literally just doing a mirror image of everything that's above the horizon line to everything that's below the horizon line. So you're just kind of mimicking the same colors. And notice too, I'm creating a little bit of movement down in the water. Your strokes are going to get wider. If you notice those little lines and reflections in the water, they're very broad in the foreground and they get tighter and smaller as you go in the background. That's just, you know, the law of perspective and how things work. But all these little things you learn in art are going to make your paintings just more believable and more accurate. So again, I was seeing more of that orange and golden color than is actually in the photograph. But that's how I think you can make a painting a little bit more dynamic and exciting than a photograph is. I happen to enjoy now. I've been using a lot of my own photography and I'm really liking that because I was actually there. And I think even though our old brains get tired and forget things, I do think there's some memory there and emotion there when you actually visited a place. So that's why I'm encouraging to use your own photographs if you can. But if not, I know how crazy and busy lives can be. I have certainly used a lot of reference material from sites such as Paint My Photo. I've talked about that before, pmp-art.com and other places. I also like to just ask friends if you're on Facebook or Instagram or something. If you see a photograph that's beautiful, just ask them. And usually they're like, yes, they're excited for you to paint their photograph, but always ask permission. Now, as you can see, I've just been gradually adding these colors there in the front. You can see how really gritty this surface is. But I'm just continuing to add layers of color, which is actually, like I said, it is blending the colors by simply just layering the pastels on top of one another. You want to be careful because you don't want to over layer or your colors get muddy and not as vibrant and just bold. I love beautiful bold color. So now, very soon, I'm going to do what I said in the very title of this video and show you a neat little blending technique for reflections. I did it in, I believe it was the last video before this, a couple of videos before this. I had some water and reflections, and I actually used a technique that's used a lot by various artists, but it's a cheap little tool you can use for blending. It's pipe foam insulation, and you can buy it at any hardware store. And while I love that, I had this creative idea to try something different. And I'll be going over that in just a minute. I thought it was coming up. Oh, here they are. Look at these very interesting looking blending tools. Have you ever seen any tool like this for pastel painting? Well, I can pretty much guess that you haven't because they're not pastel blending brushes. These are actually makeup brushes. These are actually fantastic makeup brushes. My daughter-in-law, who is a hairdresser and makeup artist, she's fantastic. She and my son came up with this product that they marketed. They actually ordered the product, came up with their own branding and logo, and they sell these makeup brushes and shows and things. And I just had the crazy idea because they're so fantastic. I mean, ladies, if you want some great makeup brushes, these will blend your makeup flawlessly. They're called Ovel, O-V-E-L, makeup brushes, ovel.com. But I thought, why not? Let me give it a try for blending. This little one right here that's actually more you can use it for your eyebrows is great for just pulling those, those reflections down. And that's the technique that you want to do. Whether you use a blending brush like this, or a piece of pipe foam insulation, you're really just pulling down that reflection so that you kind of emulate the way the, the reflections seem to almost drip down. And then the reflections of the water are going to go on top of that. So this is step one in creating reflections. It's just to pull those shadows underneath down into the painting. So that little brush worked quite well for that. Now I'm just going to choose a couple of the darker pastels. I wanted to kind of develop that, that tree. He looked weird to me like he, I always personify trees to call it a him and a her. But he looked like he, I don't know how to head in the middle and two arms sticking up on the side. So I wanted to give it some more variety and leave. So that's what I'm doing. I'm getting my iPad so that I can look at myself.  Okay, so I'm just giving it some more shape here, shape to the trees. And then later, the trees will get more shape to them and look more like trees. When I add what's called the sky holes, a lot of you guys are probably familiar with that. If you're not, those are basically what you add later, instead of drawing individual leaves or painting individual leaves, you actually carve them out by creating the negative spaces instead of the positive ones. You'll, you'll see me do that in just a little while.  And then I'm going to start working on adding, making the water more believable by adding the, the horizontal strokes across it, which will give it the indication that it's actually flat water.  Finishing up here, you can see right here where I take a harder pastel and I just kind of lightly drag it across the, the foreground there, the four water, I should say not ground. And it kind of creates that little glistening, glimmery look on the water. So I really hope you enjoyed this guys and please come back soon and also don't forget to subscribe. I forget to say that all the time. So if you want more free lessons like this, come on back and also join us in Monet Cafe Art Group on Facebook. Thanks guys. Happy painting.