What's going on everyone? Sam here with late in sports cards, ripping one box of 2021 Panini one football hobby for Henrik J. It's good luck here. Henrik, see what we got out of here for you, buddy. 2021 Panini one football hobby 2021 Panini football one hobby. Yeah, I know, right? Not sure why anyone would want that, Pat. And it's right. See what we got. And that is going to be two of 15 Drew Lock. That is 2020. So that's the year before. So that's second year Drew Lock on the Quad two-color patch on card auto to a 15 Drew Lock. Grats on that one there, Henrik. That will do it for your break, buddy. We'll get that right out to you, man.


Howdy how's it going? My name's Davy Chappy and honestly, after doing my DM guide on how to properly etiquette eyes yourself to the big role, my brain started running through all the different faux pas of being a player and that spun me into writing a completely new script that shows us the opposite under the DM screen, the player. So given that I'm currently playing in five different games from 5e to Pathfinder, I thought that I would share the tips of the trade that will hopefully enhance your table's game day. As always, keep in mind that the vast majority of this is just my opinion and I'm gonna double back on saying that this is just my opinion because it's important to recognize that every group is different and you can watch as many of these how to be a player videos as you want from as many people as you want, but that won't necessarily prepare you for how to play your game properly because sometimes friends just wanna throw all boundaries out the window and do things completely different.  But with that out of the way, let's begin. Rule number one, be a team player. It's what my character would do is the single most annoying excuse utilized by those players who want people to play their game, not the game.  Now, the pros of this line of thinking is that your character is supposed to be a real person and real people disagree sometimes, sometimes often. But the con is that by deciding out of the game to create a character that has the sort of personality that isn't conductive to a party group, when you are specifically creating a character that you know is going to be in a party, you've thrown everything off balance and made things unnecessarily difficult for everybody else, and that falls completely on you. Yeah, you could make a character that steals things, but you can also not steal from the party itself. You can make a character that is normally a loner, but still haven't recognized that in this instance, a team is better for now. You can make a character that doesn't like to change their mind but still knows that upsetting the rest of the team is worse, so even if they don't like it, they're gonna go with the group anyway.  So if you often find yourself on the outs with your D&D groups, perhaps retool the way that you play your character. Rule number two, let people have their moment.  Whenever the DM talks about something happening to a player other than you. Yes, you're there and you wanna get in on the action, but unless it really looks like the other person needs help, just let them have that moment for themselves that they'll get to remember from then on. Way the opportunity cost of letting somebody have a wonderful memory that they can pull back to when they think about D&D and the instant gratification that comes with throwing yourself into it.  Now think of how insignificant that moment would suddenly become if at the time someone else in your party just broke in between the middle of you and the DM explaining what was going on with a and then I cast Fireball. Either because they want to inject themselves into what is becoming a cool moment or because they're just doing it for the mean. Like there are plenty of times in campaigns where the team needs to rise up and get that bread gamers as a team. Defeating your first group of goblins as a team effort. Stopping the cult from summoning the ancient dragon lord as a team effort. But it's all of the smaller individual moments within that grander picture that makes people enjoy being able to flesh out and play their characters. Hell, a perfect example is when a member of the party gets the last hit on a powerful foe in the relatively unknown. I'm just gonna shout it out here. It's a podcast you might have heard of it called Critical Role and Mr. Mercer stops the flow to ask how do you want to do this? The idea is to give that lucky player the chance to have a moment for themselves, a moment uninterrupted by anything or anybody else where they get the chance to shine on their own. Nobody cuts off a how do you want to do this? That's a sacred thing. Try to let all of those other less obvious moments be a little more sacred too. Rule number three, for the love of God, please stop taking things as soon as the DM says that there is something to take. Unless your character is alone.   So perhaps even if you are thief, you can still recognize the opportunity cost of getting on the bad side of the best deal of your life. And besides the kleptomaniac rogue, too often do I have players who right as soon as I mentioned there being something even remotely valuable will actually cut me off just to say that they take the thing that I literally just described. Yes, items, gold, magic things are really cool and you want to get as much out of the campaign as possible for yourself, but remember that everybody wants that. And you can either be the little dicky that hears that and thinks that it means that they have to grab as much as possible before anybody else does. Or you can be the big altruistic chungus who hears that and understands that they should split things up evenly. Because yes, everybody wants some.  I know this sort of feels like it might have been covered by the last two rules, but let me explain a little bit better. This should go without saying, but more from an out-of-character perspective, if a lot of your jokes are at the expense of someone else in the group, DM or player, you could potentially be aggravating them and unknowingly ruining their place at the table. If you're the stereotypical D&D player, then you probably remember being the quiet kid in school that just let people say whatever they want and tried not to occur, all the while internalizing it and making new reasons to not wanna go anywhere or do anything because of those one or two people who have developed a sense of humor that relies on making fun of the easy target. Yeah, you should say something. You should tell them to stop, but you also aren't the best at talking and if your bullies are, then they can twist things to make you the bad guy for making a big deal out of nothing.  During D&D, people making jabs at each other may seem fine, but unless you really, really know each other, then you don't know if what you're saying is affecting them in ways that they don't wanna bring up because they don't wanna ruin the vibe of the group by misjudging their own discomfort. Just be cool and keep any bad vibes in character where they belong. Rule number five, be a performer. Yeah, you heard me. It's not just the DM that needs to work for their hobby and whereas the DM has to put a story together, get maps ready and keep everybody happy during the entirety of the however long play session, all you have to do is scribble on a character sheet and show up. So the actual act of being your character should honestly be pushed harder. Yeah, the DM is making your world, but if my other tips are anything to go by, it's not their responsibility alone to make sure that everybody's having a good time.  Hell, with the success of that one nameless show I mentioned, everybody talks up Matt Mercer for being the best DM in the world and it's true that he's great. But what about the other seven people on that show that I maybe sometimes hear about once or twice after everybody has already gone down on Matt? For as good as he is, Matt can't carry the show on his own and the players of a campaign add talent to the show, to the game that nobody ever gives them credit for because we've conceptualized the entire success of a campaign as being due to the DM, completely forgetting the archetypical nature of five or six kids laughing and playing together around a table, everybody looking like they're in on the same joke. D&D is like acting. You have to bring your player persona to the table or else it'll be harder for everybody to get into it. Hell, when I'm playing games, I do my best to always be talking in my voice, always respond with the opinions that my character has, even if I'm obviously talking out of game and always making sure that, unless the moment really calls for it, as I'm keeping up an environment that makes people want to bounce their own characters off of mine until we're all completely in character, even out of game. It's that that makes a game special when everybody is putting effort into it, not just the DM. That makes that game the one that you talk about for years upon years to come and different groups are different. So depending on your group composition, you'll have varying levels of role-play necessity to make the game fun. But if your attitude towards this is that you'd rather relax and chill out after a long day and you don't want people pushing more responsibility onto you when you don't think you should have to do it, then tell your dungeon master that they don't have to either and either continue from there or maybe play a different game for a little while. But that'll about do it. I hope you enjoyed this video. I know I get a little bit more rambly on these talkative non-rulebook guides, but it's just because I have a lot to say I'm not always the best at articulating it. I just hope that somebody gets something out of this and it helps them with their own party groups. Remember to like, comment, and slap that subscribe button for 3,725.95 miles per hour. But yeah, dab you out.


Hey there. I'm Sandy Allnock. Welcome to my YouTube channel. It is cold outside and I just get back from walking the dogs. And today my painting kind of fits with that kind of weather because I decided to work on something that's a little bit post-fall, not quite winter yet. And I did it in two mediums. So for those of you who wanted to see what's the difference between gouache and watercolor in how you go through the process as well as what the end result is, this is for you. Let's get started and I'm going to go unbundle. In addition to talking about the difference between these two mediums, I also want to discuss the difference between linear and atmospheric perspective because I'm going to be painting in atmospheric perspective. If your eyes glaze over when I say the word perspective, then just breathe deep. You're going to be fine. Linear perspective is the one that drives everybody nuts is that road that goes into the distance and it just gets smaller and smaller as it moves away from you. And the scale of the trees in the distance is going to be different than the scale in the foreground. But atmospheric perspective is where you do that same thing with color and value. And that's really what I'm going to try to achieve here, getting those really light colors, desaturated colors in the distance and more saturated in the foreground. I'm going to be going back and forth between the two mediums and I'm just putting on the screen which medium I'm in in case you get lost because it's going to be a lot of back and forth. I want to do each step in each medium so we can compare how they work. And gouache is opaque watercolor. That means it's a little bit more like acrylic, but it's water soluble and it can be rewet over time. So, you know, if you start painting over top of something, it might lift color from underneath. For the background here, I've mixed ultramarine blue with a little bit of burnt sienna to dull it down and with white to lighten it. And as I was painting, I realized I hadn't gotten enough white in that highlight area. So, I've mixed in some more white. I'm just going to paint it right over top and it's going to mostly blend in. But I have so many trees and leaves and everything to put in here. I'm not worried about trying to get perfect blending. Some people will, but the shape of that highlight is just kind of an odd one, because it blends out to the left, it blends out toward the top, and then it turns into all of those that dark stuff at the bottom. And I wanted to have some of that blue color down at the bottom for a reflection because instead of having light coming through, I'm going to have water puddles. That's what I decided I wanted in my painting. Now, watercolor is a very different approach because now we need to leave the white. We can't paint white back in, so I'm leaving it by painting around that area, leaving it open. And I painted with a very light wash first of some cobalt blue with paints blue gray mixed in it, because I again wanted to cut that down just a little bit. I think I even had a bit of burnt sienna. Because burnt sienna just acts as the complement and starts to dull things down. Now, while it's still wet with the watercolor, I can drop in those trees that are in the distance. I can't do that in gouache, but I can do it here, and I can get that really soft look because it's still wet. I'm also going to throw in some greens because I can do that at this stage in the watercolor because there's all that mushy green stuff all over the place. And this is going to give me very soft blended edges on some of the trees. I can paint over them later and give them sharper definition, but at least in this first pass, I can get that really soft sort of watercolor feel by doing it wet in wet. And that's not something you can do in gouache. It also though, it feels a little out of control and to a lot of people when you paint like this, you're like, I have just made a mess of everything. Well, I'm going to prove to you that both mediums are a mess at some stage. And both also start to write themselves if you keep going. A lot of people quit before they get to the good part. Now I wanted to put those trees in the distance, but I had to actually paint them. And that means they're going to have a little bit of a harder edge to them. That's just the look of gouache. But if you use a really, really soft tone to paint those, it's not going to be overly obvious. It's going to be more subtle just because it's a very light value. But always remember that when you paint anything in gouache, the color is generally either going to darken or lighten. And with watercolor, it always just lightens. And with gouache, it's a matter of playing with it to see which colors are going to do which. And I've had, you know, some colors that look like they got darker, but it's really because they were on a lighter background or vice versa. So a lot of times I end up doing this kind of a stage, and then I have to paint over it because I got the value wrong. But in gouache, you have that freedom to keep going over it and changing it if you mess that up. Now returning to watercolor. Now that it's dry, I'm using my inlaid needle brush to start making some of those intermediate types of tree trunks. They're thinner. They have kind of smaller branches. And I'm using very wet paint because I know it's going to lighten. And I want them to be lightened. But I'm also doing it on dry paper. So I'm going to get sharp edges instead of all that soft stuff that I got in the far distance. And this brush is lovely at doing this. I know it's not always available. There are other versions of this needle brush that I have tried. And I have not found one that releases paint the same way as it does. And I'm sorry about that. I wish I wish I wish it was more ubiquitous out there. But you can try some of the others and see if you can get the same thing. It has a large belly to it, holds the paint, and then kind of lets it out along that needle tip. And it's wonderful for making branches and that sort of thing. So now I'm using thicker paint. And I can go right over this while it's wet because it's just kind of a mushy mid-range area. And it's a little bit thicker, but it's still going to dry lighter because I don't want this to be super dark. I'm going to add more darks over it. And I'm just adding more of the scrub that's going to be behind those big tree trunks on the left hand side. For the gouache, it is very different in its technique. If I want to start putting in those mid-range greens, I need to mix a mid-range green. I wanted a green that was going to be a mid-range green and more on the olive side. So I used one of my bright spring green colors and threw in a little bit of a warm yellow, which I talked about in my previous video, about how to desaturate and dull down some of those colors. And that's what I've done here. To darken it, I'm using some Ultramarine Blue. I tend not to go for a black to darken until I'm really ready for that.  So here I'm just adding more of those dark colors in the bottom so that I'm ready for the rest of the scrubby stuff when I get there in gouache. Back to watercolor, I'm using even thicker paint and I'm still using that needle brush because I want some interesting edges down here. What I envisioned for this pathway coming forward is instead of doing just a pathway that opens up and gets smaller in the distance, I wanted some water puddles in here because I wanted some reflections from those trees. And since I have the sky color painted in the section down below, all I have to do is leave those open and I automatically have a color that's going to match the sky up above, which it's going to be reflecting. Or I guess it's possibly fog there as opposed to true sky because there's more forest in that distance. But I'm just creating shapes. And the green color here that I used was some green appetite with a bit of transparent red oxide in it. Just a little bit of mishmash to try to create something that's going to feel darker. And then went to more transparent red oxide to make the ground feel a little more of that late fall, early winter, not yet snowing, but that's sort of a feel to it. Now when I come back to my gouache, I'm putting in all of these greens, but now I need to mix a brown color and then figure out how to get that in there. It's not going to mix by just dropping it in.  And I'm tossing that in, letting it mix with the green. So I have some green in the brown, but I'm also letting it mix with the colors that are on the paper. And then putting in some lighter colors, lighter values, so that I'll have some areas that will be a little bit brighter. And I can add more on top of that to brighten it. But here I'm just looking to get these whole areas masked in just chunks of them. So they're all kind of ready for all that detail that's going to go on top. Now back to the watercolor. And just so you know, these were not done in a sequence of like, I'm going to paint this step and gouache this step in watercolor. I did the whole gouache painting together and the whole watercolor painting together and just mixed the footage. So this paper is still wet from the last pass that I had done putting all that paint down. That means I can take this really thick pigment that I've mixed with some Pains Blue Gray to darken it, not black, but Pains Blue Gray. That means I can drop that into these wet areas and get soft blurred edges in some places and start really carving up some openings for all of the puddles that I'm going to create. Now back to the gouache. I needed to put those more mid-tony but dark mid-tony types of branches in. I had the really pale ones that are more in the distance, but I wanted to add even more. So now I'm adding in more of the darker pigment for some of these interior branches that are going to be behind those big trees in the front, just little by little building it up. Now I can't use my needle brush with gouache. It's just not fluid enough and if it was fluid enough, it would just be all watery and would not really work all that well. So I'm using just scumbling motions with the brush to just kind of move it around and dance it across the page to try to create the kinds of edges and plants and things that I want in here. And I knew that I was going to continue adding more layers, but I can just paint right over any of this if it doesn't work out. And I love that about gouache because I'm always like going back in to just fix a little thing here and a little thing there, add a little sparkle of light coming in from somewhere onto a branch and I have the freedom to do that. Watercolor not so much because once it's there I can't really undo it. I can cover it but I can't really undo things. So you can see the contrast that I've got going on that left side and now I want these trees to have that much contrast and more. So I'm using actual black for these tree trunks because they're very much in silhouette in the photograph and I need to anchor them into the land. They can't just sit on top like they are now and I will have to go back in and make them kind of feel like they're part of the grasses and things that are underneath of them so they don't look like they're just kind of telephone poles floating in space. And also notice that I'm not really worrying about trying to make every tree trunk straight. Tree trunks grow in all different kinds of little angles and they kind of get in each other's way so if you just make a whole bunch of very straight ones it won't often look natural but just a little bit of a sway to one or the other can sometimes make your painting look really normal and natural like what you would see in reality. So I'm back to that needle brush because I need to start adding in a little bit more. I'm adding in a few dark branches but I'm also going to be anchoring these trees and just kind of tucking in some darks right where they hit the grasses so that I have a little bit of bright that's kind of dividing some of those sections almost a little hillside going up to the right and left but I can break up some of these sections so that I have more detail down there in the bottom and the photograph has all kinds of very solidish types of shadows for the plants on this left side there's just not a whole lot showing it just got very dark and that's why there was more of that dark color on the left when I painted that background because I knew all that needed to just kind of go away so that that light was going to be the focus and now for these trees in the gouache painting I'm doing the same kind of thing black for the tree trunks themselves and if I wanted in gouache I can easily just go right over top of this if I decide I want more detail in them and put some light on the edges of them I could even do that once this black is dry just go over it and add some brown bark textures and that sort of thing but I didn't really go that way because I wanted these paintings to sort of feel like they were the same but different because you know you can't make them look exactly the same but I'm using even a big fat brush to scrub in some of these bigger areas because there's a lot of deep rich shadow in the reference photo and so now I'm going to use my big brush again using it on its side will give me a thinner line because I don't usually use these flat brushes when I'm doing watercolor but in gouache I use them a lot trying to figure out what the best uses of them is and you can either paint with them flat to the paper and make a wider tree trunk or use the side of it to make a skinnier one and still adding in all the same kinds of trees that I added in the watercolor version shout out to any of my new friends in Sam Earp's online oil painting school yes I signed up for oil painting lessons I am not painting in oils I am painting in gouache but I know the instructor his work I've seen him on Instagram I've seen him on YouTube and I like how he teaches and he also uses gouache and I knew I could talk him into doing more gouache video so he said he would we had a critique just this week and he he gave another nod to wanting to do more gouache like even my gouache painting that he critiqued which I will post over on my blog he even said that that inspires him to go get his gouache out so yay for that but it's been a lot of fun hanging out with oil painters and learning how they think in mixing colors because with watercolor I'm used to being able to drop one color into another to change the tone and just letting the colors mix on the paper with gouache you can't do that you have to mix the color specifically which is not a bad thing it's just a different thing and I need to train my brain to think that way when I get the gouache paint out and it's working it's I'm doing better than I thought I would so that's good but here I'm adding more detail with that inlaid liner brush into the shadows and the grasses and everything I've got my reflections in the puddles from the trees that are above them and there's in the photograph light coming through and hitting little patches of the grasses but I thought a bit of water was actually going to convey that better and it was going to be easier to paint in both mediums so there's that as well because you know I'm always up for what's going to work and what's going to be easiest and still have a really good look to it so this brush is making beautiful little grasses and adding a lot of detail into those areas that I just left as blobs so this is the final pass which means I'm able to just kind of put lots of detail in there on dry paper you can add some more branches in the top and at this point you can still use a thin wash if you want to add thinner branches that are going to get lighter or you can use a thicker mix that's going to stay darker and be more in the foreground but all of it is against everything that I've painted already in the background so I'm actually able to get that atmospheric perspective with many layers going from the far distance into the the close foreground and that's what atmospheric perspective is all about now it's not going to fix your linear perspective if you get the linear perspective on a path incorrect and your your path doesn't end up like getting smaller as it goes off into the distance then an atmospheric perspective won't fix it but it will actually help to convey it so that's a good thing now with the gouache trying to put all that scrubby detail in is not as easy since I can't use that inlaid liner brush wish I had one that would work for that but I did switch to a smaller brush the ones that I use are recommended by another guy that I love his videos James Gurney if you haven't watched his stuff if you're a gouache painter go check him out he's got this set of brushes that he's used for a long time and recommends and I got them and I thought they were pretty good the jack Richardson set it's got a bunch of different size brushes in it some flats and some rounds and this is one of the smallest ones there you can also use an even tinier brush but the good thing about gouache is that it's less expensive you don't have to have fancy brushes you know you don't need an inlaid liner brush because it won't work on gouache right so just figure out which brushes you do have that can create that so I'm going to add my reflections into the puddles and I love how the reflection just jumps from one puddle to the other and if your tree goes a little bit to the left as it's going up as it's planted in the ground then make it swing out to the left when you're making the reflection so it goes in the kind of that same reflected direction now here I wanted to add more puddles so I could do that since I am able to paint right over top so I painted some of that light blue so that I could add another puddle and put a little more reflection in because it looked weird to have just the one tree in a reflection so I just thought I'd add some more and then I needed a bit of lighter detail on top of some of the little little scrubby things little grasses because it just felt like everything was a little bit darker than I wanted I can do that with color I can add more of the burnt sienna in the mix here so I'm adding more that feels a bit more like leaves or mud but you can also do that in greens you can do that in all kinds of things to create more dimension more little details and plants in the painting itself so my two paintings are now finished they're very different in character but when you look at them from a distance they just look like they're two paintings of the same scene and when you get close is when you can see the difference between a soft blended look that you can get in that atmospheric perspective in watercolor versus a more graphic look that gouache will give you and it's all a matter of your preference and what you like as opposed to one is better than the other because I enjoy both of them quite a bit I hope this answered some of the questions you might have had about the differences between gouache and watercolor and if it didn't or if it raised new questions because that's always a thing then leave something in the comments down below I'll either answer you in a reply if I can do that in short form but you might be inspiring a new video topic so let me know what you want to know and I'll do what I can I will see you again next week next week is Black Friday and I will be here on Tuesday with a rather hilarious video okay I think I'm hilarious I hope you will too so please make an appointment to come on back on Tuesday and I will see you then and in the meantime get out there and create something every day and I will see you very very soon take care bye bye


Breast cancer is initially so slow-growing that women may have tumors years or even decades before they're diagnosed. So it makes sense that the same dietary factors that help grow the tumor in the first place would keep goading it on before and after diagnosis. This is not always the case, evidently. Alcohol, for example, strongly associated with breast cancer risk, but once you already have a full-blown tumor, it may not make a difference if you continue to drink or not. But in general, the same diet that helps prevent breast cancer appears to be the same type of diet that's going to help prolong survival. That seemed to be the case in this recent New York study. Started out with about 1,000 women with breast cancer, ended up with less than 1,000. Must be so sad to do these survival studies, you never know who's going to make it to the end. Some investigations have suggested that plant-based diets, rich in fruits, vegetables, and grains, as well as their related nutrients, may have a beneficial effect on survival after breast cancer. Evidence pointed to lignans, vital nutrients found throughout the plant kingdom. We know they may prevent breast cancer. Now we know dietary lignans intake is associated with improved survival among postmenopausal women with breast cancer. In fact, it appeared to cut mortality risk in half. Where do you find it? Well, there's some in red wine, whole grains, vegetables like kale, big jump to sesame seeds, and then meteoric rise to flax seeds. Let me squish down the scale here. Look at that, nothing comes close to flax. The Long Island Breast Cancer Study Project estimated the quantity of lignans Long Island women average on a daily basis. From their entire diet, about 6 milligrams a day. That's how many lignans are found in a single teaspoon of flax seeds. So you add just a teaspoon to your diet and you may have just doubled your entire intake for the day. Just maybe not during the last two trimesters of pregnancy, as preliminary data suggests flax use may increase the risk of preterm delivery.