It's time for the Lawn Gene Chronoscope, a television journal of the important issues of the hour brought to you every Monday, Wednesday, and Friday, a presentation of the Lawn Gene Wittner Watch Company, maker of Lawn Gene, the world's most honored watch, and Wittner, distinguished companion to the world-honored Lawn Gene. Good evening. This is Frank Knight. May I introduce our co-editors for this edition of the Lawn Gene Chronoscope? Larry Lasser from the CBS television news staff, and Thomas J. Hamilton, chief of the New York Times United Nations Bureau. Our distinguished guest for this evening is Sayed Anjadali, ambassador from Pakistan to the United States. Mr. Ambassador, yesterday, after a lot of preliminary rumors, President Eisenhower officially announced that we were going to grant military aid to your country. Now may I ask you why your country has requested this military aid? If you're familiar with the geography of my country, you know that, first of all, we are divided in two parts. In the west, we border Afghanistan, Iran, and China. There's a narrow tongue of about 60 miles which separates Pakistan territory from the Soviet Union. But if you go to Chitral, which is about 16,000 feet, you can see the lights of Mer, which is in the Soviet Union from Chitral. And on the east side, we border Burma, and again, not very far from China, communist China, and of course in between we have India. I know your country is very big. It's one of the largest in the world. I believe it's about the size of Texas and New York state put together. And I guess you have about 80 million people there. But I'd like to ask, how much money do you expect to get from the United States? And what will we get out of it? Will we get air bases in Pakistan? Well, as far as the money is concerned, we have no idea. And what we are requiring from the United States is equipment. A military mission will go out to Karachi and they'll go around military stations and they will assess what we require to equip the deficiencies of our armed forces, that is the army, the air force, and the Navy. So in terms of money, I couldn't give you an idea because after the assessment has been made, then again, the assessment would be more or less in arms and not in money. As far as bases is concerned, there's absolutely been no talk at any time about bases. Well, not your relations with India, Mr. Ambassador. I believe that the Prime Minister, Mr. Nehru, has already protested against this when it was first mentioned. Well, he has been protesting for the last three months. As you know, in this country, I've been reading the last three months protests from Prime Minister Nehru and from the newspapers of India. Our relationships have been sometimes good and sometimes not so good. I don't think there'll be any deterioration in our relationship. As a matter of fact, if you might have seen only this morning that the two Prime Ministers met accidentally at Delhi Airport and they took advantage of that opportunity and talked for about 15 minutes. So our relationships, as I said, I don't think they'll deteriorate. What about Kashmir? I believe you have quite a few disputes with India, but Kashmir is the most pronounced, I would say. Well, if I have an effect with this agreement with the United States, have an effect on the Kashmir dispute, do you think it has a better chance of it being settled? Well, Mr. Hamilton, actually you are in a better position to answer that question because this dispute has been seized by the United Nations and the Security Council for the last six years. This dispute has been argued year after year. We are no nearer solution today than we were when this dispute first came up in the United Nations. As a matter of fact, both countries have agreed to have a free and impartial plebiscite. Admiral Nimitz was chosen by both countries as the administrator, but he had been waiting the last three years to be put into position. So I, as far as that dispute is concerned, I think the position is that will remain as it is for some time. Then Mr. Narrow makes up his mind to have a free and impartial plebiscite. Mr. Ambassador, Moscow wasn't too pleased with those preliminary reports that you were going to ask for military aid from the United States. Now how do you think this is going to affect your relations with your neighboring communist states? Well, I think our relationship would be the same. They don't like this aid. But beyond that, I doubt very much if there will be any worsening of our relationship to what they are today. Mr. Ambassador, it was understood that this grant in aid, in military aid, was awaiting a treaty of alliance between you and Turkey, the other end of the Muslim crescent. Now, what effect will this have on your policies? Would you have joint policies now with Turkey? Well, as you know, the government of Turkey and the government of Pakistan have agreed to collaborate together in the fields of politics, economics and culture. And they are now negotiating a treaty which should bring these two countries nearer. We in Pakistan have a very soft corner for the Turks and we have a great deal of sentiment and a great deal of affinities with that country. So I hope that this treaty which is being negotiated would bring the two countries nearer together. The hope is that the other countries in that area would join in this collaboration so that we'll have Turkey, Iraq, Iran and Pakistan. But of course the choice is entirely the choice of those countries. And it's a voluntary collaboration. And if they come in, it will be better for the peace of the world because this kind of a collaboration is purely defensive. It's not against anyone. It's not pointed against any one particular country or a number of countries. Actually, I thought, Mr. Ambassador, that our agreement with you and your agreement with the Turks seemed to indicate a shift in the grand strategy of the free world. The free world is going to put its face line of defense, certainly, against a communist attack in the northern tier of states, Turkey, Iran and Pakistan. Do you think that strategy will wake? Do you think that the face line can be held? Yes, sir. If you have that alliance between the three states you mentioned, and if that alliance is strengthened, it could hold if there was aggression. But at the present moment, the collaboration which will come into effect very soon, I hope, is between Turkey and Pakistan. And as I hope the other countries come in, that certainly would add further strength. Iran, too. Certainly. Mr. Ambassador, as a British Dominion, of course, this will strengthen your relations, I presume, with the British Commonwealth. But how will it affect your relations with the rest of the Arab states and their relations and their attitude towards Israel, Suez Canal, and freedom of Tunisia and Morocco? Well, in the years, Mr. Hamilton knows, in the United Nations, we have been supporting the independence of Tunisia and Morocco, and we continue to do that. As far as the Suez Canal question is concerned, the part we have tried to play is to lend our good offices for a just and fair solution between the government of Egypt and the government in the United Kingdom. At one time, we thought that both countries were getting very near, and we hoped that they would be able to solve this question emicably. In regard to the other Arab countries, we are very friendly with them, and I hope that this new collaboration would not in any way affect that friendliness which we have for the Arab countries. Certainly, from our part, there would be no change. Mr. Ambassador, last autumn, you were the President of the United Nations Economic and Social Council, and you lent some very useful efforts towards guiding the Council in its work, towards helping the underdeveloped countries of the world. But that was economic aid, and what you are to get now from the United States is military aid. Do you feel these are reconcilable? Yes, sir. I think they are reconcilable in this way. When at the independence of Pakistan, the main reservoir of equipment was what is today India, and we were to get our due share from India of our equipment. We got very little, and the rest was held by India, so we had to make that deficiency by purchasing that equipment from the governments of the United Kingdom and the government of the United States, and we have been purchasing every year. Even now, there is some equipment which is on its way to Pakistan. Now, all this equipment is bought from our foreign exchange earnings, and if we get economic military aid, we will be able to divert some of that money to others. I see. As a final question may I ask you, what effect do you think this new alliance, so to speak, with the United States will have on Pakistan and perhaps its attitude towards the United States, sir?  We received 700,000 tons of wheat last year, which brought the two countries very much closer because this was a great act of generosity and part of the people of the United States. So this friendliness, I think, will be strengthened further with this military aid going to Pakistan. Well, thank you very much, Mr. Ambassador. I'm privileged to have you here tonight. Thank you, sir. The opinions you've heard our speakers express tonight have been entirely their own. The editorial board for this edition of the Laun Jean Chronoscope was Larry Lisser and Thomas J. Hamilton. Our distinguished guest was said Anjad Ali, ambassador from Pakistan to the United States. A Laun Jean watch makes the most distinguished gift. For a Laun Jean watch is not alone one of the very finest watches made anywhere in all the world, but equally important. The watch of highest prestige. Now consider these beautiful Laun Jean watches for ladies. Here are superb examples of the jewelers exquisite art. Diamonds were used are of the finest quality. Meticulous hand finishing gives that final touch of perfection. For men, Laun Jean has created a watch for every need and purpose. Shockproof, moisture resistant, automatic watches for rugged service. Handsome dress watches for business and formal wear. Each style with impressive good taste. And every Laun Jean watch, whether for a lady or for a gentleman, is made to the unique Laun Jean standards of excellence, which have won for Laun Jean ten World Fair Grand Prizes, twenty-eight gold medals, highest honors for accuracy in fields of precise timing. And yet, you may buy and own or proudly give a Laun Jean watch for as little as seventy-one-fifty. So, see your authorized Laun Jean Wittner Jewelers Agency. And remember that throughout the world, no other name on a watch means so much as Laun Jean. The world's most honored watch. The world's most honored gift. Premier product of the Laun Jean Wittner Watch Company. Since 1866, maker of watches of the highest character. We invite you to join us every Monday, Wednesday and Friday evening at this same time for the Laun Jean Chronoscope, a television journal of the important issues of the hour. Broadcast on behalf of Laun Jean, the world's most honored watch, and Wittner, distinguished companion to the world honored Laun Jean. This is Frank Knight, reminding you that Laun Jean and Wittner watches are sold and service from coast to coast by more than 4,000 leading jewelers who proudly display this emblem, Agency for Laun Jean Wittner Watches.


of radio's outstanding theater of thrills, the master of mystery and adventure, William M. Robeson.  When that woman is a reigning movie star who has a contract canceled at the height of a career, the fury can indeed be lethal, as Miss June Lockhart proves in shooting star, which begins exactly one minute from now. Miss June Lockhart as gay lengthening in shooting star, a tale well calculated to keep you in, soft spent. These contract players Dave, Martin, Richard, Doc, Cancel'em. Richard? Uh-huh, but I thought you were... So I play Jane with him and he goes with my daughter. I don't do business that way. Oh, I just meant I thought the boy was pretty good. I can't use him. That's all, Dave. You're awesome. Okay. Yes. Oh, Jeff. That's a here, Jeff. I don't want to hear any more trouble about Dark Lady. If it's the day of my funeral, that picture starts rolling on the 17th. I know Laura Bevan's as expensive, but get her for this picture and bring the papers to my place in the desert. I'll sign them there. All right. Good night. Yes? Mr. Benjamin Cron to see you, Mr. Zimmer. Oh, all right. Send him in. Miss Davis. Yes, Mr. Zimmer? Tell Haines to bring my car around. Yes, Mr. Zimmer. Well, good afternoon, J.D. Hello, Ben. How's the arthritis? Not so good. It's too bad. Going to the desert for the weekend. That's the place. Bake it out. Yeah. I wanted to talk to you about gay lancing, J.D. You thought about it? With Dark Lady? Yeah. I thought about it. And? She's not a type. Not the type who is in with an Italian hatchet? She can't act. How would you know if you've ever given her a chance? Lost Benny, gays. Grayson's sequence and further. She's got the bill for it, even if she don't think so good. But that ain't what the public wants these days. Now they want James and sweatshirts and Levi's and no makeup. Things like Laura Bevin. Don't ask me why. That's the way it is. But if I don't give them what they want, I ain't going to be in business very long. Gays got what it takes, J.D. Then take it somewhere else. Aren't you being a... Listen, Benny, you got no beef.  Fifteen percent, they tell me, instead of the usual plan. That's got nothing to do with it. Then who delivered her to you? Who told you that you were the only agent for her? Who? Her? You did, J.D. Okay, now I'm telling you she's at the end of the line. This is going to be rough on her. Yeah, and on me too. Listen, pal. I'll tell you what I'll do. I'll make it up to you, see? I'll deliver Laura Bevin. Mickey Horowitz handled it. They won't after I tell her you're going to handle it. Well, it's awful nice to see you, J.D.  Are you going soft or something? There ain't no room for tantrums in this business. You'll be taken care of. You'll get yours. So what do you got to worry about? Up there to crimp, get a lily, rub it up there to get it laid out again. Gays! Oh, Ben, hello. I gotta talk to you, Gays.  Oh! I've never been so tired. It's harder every time, Benny. Thank heavens, this dance marathon nearly over. And thank heavens, this is my last musical. Gay, I've just seen Zimmer. Oh, Benny, what did he say about Dark Lady? He said no, Gay. No. They're signing Laura Bevin. Laura Bevin? Look, what kind of an agent are you? I'm sorry, Gay, that's the way it is. So my next picture will be another super multicolored musical mishmash. Gay, they're not renewing. They're not? What? They're dropping your option. But I, oh, you must be kidding. Look, I've been with this studio since I was 16.  I've blown my picture out. J.D. thinks the musical cycle is over. He's like my cycle's over, is that it? He didn't say that, Gay. Just like that. Look, ZSP isn't the only studio in Hollywood. This is, just this morning I was talking with Harry Westerfeld out at Modern Pictures. He says, look out, give me my coat. Where are you going? Does it matter? Now, Gay, take it easy.  You'll feel better. Feel? How would you know how I feel? Gay, I'll figure something. I'll call J.D. at Palm Desert over the weekend. Don't bother. I'll handle this myself. Yeah? Jerry? Yeah. Hello, Iris.  What are you doing at the desert? Right now, I'm having a high ball. In a couple of minutes, I'm going to take a sun bath.  Yeah. That's why I'm here. Oh, Jerry. You could be a little more considerate. You could have let me know. Listen, Iris, I stopped punching a time clock a long time ago. I'm not checking up on you, honey. Only you. Only what? Who's down there with you? Nobody. I sent Haynes back with a car. But who'll take care of you? Get your food. I'll have my meal sent in. Honey, are you angry with me? No. I just don't want to be around that leech of a brother of mine shows up. You know, I can't stand him. I can't either, really. I'm just trying to be polite. OK, so be polite. And let me know when he and his wife check out. I'd much rather be with you, Jerry. Well, you know where I am. Wouldn't you like that? Just the two of us this weekend are sort of second honeymoon. Yeah. Sounds great. You don't seem very enthusiastic. Oh, listen, honey, will you get off my back? I got to get some sun before it's all gone. All right, Jerry. I'll talk to you later. OK? OK, Jerry. Hello, JD. Gabe, what are you doing here? I just drove down for a little conference. I understand you want to drop my contract. Oh.  I'm sorry about that, Gabe, but the stockholder's feeling. I've heard that routine before. If you're not dropping me, JD, you're drawing up a new contract for $3,000 a week, seven years, and no option. And you're giving me the lead in Dark Lady. Now, look, Gabe. I want you to call the studio now and arrange it.  After all, in today's market, it's the exhibit of the. I mean what I say, JD. Gabe. Quite a conversation piece, isn't it? So small, and a little pearl handle, but it shoots real bullets. I'd advise you to respect it. But this isn't like you, Gabe. Perhaps you just don't know me very well. Go on, get on that phone, JD, and be careful. Let's see how good an actor you are. Go on. All right. Hello, operator. Get me Hollywood 62424.  I even hint at the screen actor's guilt, what should I do? No, you can't scare me. Legal department? Mr. Mitchell, please. If I tell Owen to go ahead with this, legal is going to have a mess on their hands with Laura Bevan. I couldn't care less. Hello, Owen. This is JD.  That's what I said. 3,000 a week. No options. The part. Put it in the contract. She's to star in Dark Lady. Put that in the contract. You're right. When you work it out. Very good, JD. How far do you think you can go with this, Gay? Monday morning, I'll cancel that contract, and you'll be blackballed by every studio in town. No. Oh, no.  Yeah?  No, you don't deserve that.  Stay back. Give me that. My arm. Oh, my arm. Oh, I think it's broken. No, it isn't. It's just twisted. You have yourself to thank for that, JD. You had an expert teach me judo. Remember? So for that wack musical, go on.   You think I'm crazy, don't you? No, no, no. I think you're tired. I'm quite sane, JD. I want you to understand that. Now, let me see. Last year, you used a folding wheelchair when your knee was bad. Where is it? I don't know. The hall, maybe? Well, we'll have a look then. Go on, JD. Walk. Open the door. Oh, here it is. All right. Open it up and wheel it out here. Now sit down. Go ahead. Now look. Now, the belt off my jacket should do nicely. Now, this should hold you. And if I need you in another room, I can just wheel you there. I won't have to keep the gun pointed out. That's rude. I know. There. Are you comfortable? JD, this is a very poor job. Oh, I don't like to do this, JD. I am not a criminal. I made a phone call.  Now, let's have a drink and... You remember the first time you saw me? You were in the chorus of one of Daily's reviews. Not the chorus. I had a specialty. Even at first, I had a specialty. $40 a week. Oh, I thought I'd arrived. I was just 16. And then Zimmer Productions signed you up at ten times that figure. And I made The Sunshine Girl. Do you remember how things were with ZSP in those days? The studio was bankrupt. But I saved you. Oh, they liked The Sunshine Girl. And little by little, I climbed to success. With Zimmer Star Productions on my shoulder.  How many girls attend premieres of their own picture before their sales? And did you know how I worked for those premieres and contracts? I've danced my heart out. I even risked my life for you. You were never asked to do that. And when you had the bright idea of a dance routine on a 30-foot globe, I did it. Oh, I still have nightmares about it. Some lights in my eyes. I whirl. I smile. The music goes faster and faster. I look down. I fall. It was eight months before I danced again. Gay. You've always been our most reliable star. Oh, I have, haven't I? No undue husbands, a scandal or temperament. Why break your record? You use me up and then throw me out. You've done enough to me in my career. Tomorrow you'll be the headline. An unfortunate accident. Huh? What are you talking about? You don't swim, do you? A villa in Palm Desert with a pool. A cottage at Carmel with a private beach. A ranch in Oregon with a private lake. But you don't swim, do you, JD? You wouldn't. No, not yet. Tonight I'm going to set a time. Say, nine o'clock. That'll give you three hours and 40 odd minutes to think about it. Then arrest you. You'll go to jail. What's that? I don't know. But you weren't expecting anyway. Well, I'm not. Who is it, JD? Now, let's not play games. Well, maybe it's the delivery boy. I ordered some liquor. Well, I'll handle him. How? Oh, never mind. Well, I'm going to put you in the den and gag you. If I were you, JD, I'd be very, very cooperative. It wouldn't bother me in the least to kill the delivery boy and then make it look as though you didn't. In a moment, we continue with... we continue with Miss June Lockhart in Shooting Star. A tale well calculated to keep you in suspense. Oh, hello. The delivery for Mr. Zimmer. Can you bring him in? Yes. Come in. Where do you want this stuff? Over here in the bar. You mind? No. It's some sort of hot for this late in the afternoon, isn't it? Could you use a drink? Oh, sure. Why not? Got you, OK? Yeah. It's fine. Say, I thought Mr. Zimmer was here alone this time. He is, technically. I'm the secretary. You know what I'd say? Mm-hmm. Here you are. Thanks. Come on. Bottoms up? Why not?  All right. Get around? Yes, I'll bet you do. How'd you like to get around me? Yeah. Yeah.  Well, all right. What's that? Nothing. It must be something in the refrigerator I'm defrosting. Maybe you'd better go now. Go? No. Well, you'd better. Oh, that's a quick switch. Well, OK. But I'll see you again, maybe? Maybe. Yeah. Well, goodbye. And, uh, give my compliments to the old man. Oh, I should be very angry with you, J.D., for knocking over that vase. I don't remember that at 9 o'clock. Meanwhile, we can take this gag off. You witch. That's delivery, boy. You not only want to kill me, but my reputation as well. Your reputation? Shall I tell you something about your reputation, J.D.? You're known as a heartless, grasping, slave-driving tyrant. That's rubbish. I'm a hard-working man who got ahead by his own effort. Have you? All by yourself? How about that brother of yours who lent you $400 to get started? It's a rather small time, brother. You don't even talk to now.  Why should I? I've paid that leech back a hundred times. Then there was the time you took your own partner's wife away from him. He was making her life miserable. And what are you making it? You left her alone on your honeymoon and she's hardly seen you since. That's not true. I'm a busy man, but I'm a family man. And I won't have you trying. You won't be considered a family man after the publicity you're going to get. A producer dies in love nest killing. But then you always taught me any publicity is good publicity. Even when Eric Allen aloaks with someone else on the eve of our wedding you had the publicity department make a front page fall of my broken heart. But Gay, you can't keep down a story like that. You could have tried. You could have tried.  Look, let's say you win. Let's say I've made mistakes. But I can always do better. Now, right now I'm tired and hungry. And if you'll just untie me, I'll agree to forget all about tonight. What do you say?  Oh, no. I won't. You have my word. Look, I'll put it in writing. Well, I think it over. I'll let you know at nine o'clock. But you do have a point, JD. Of course. About being hungry, that is. I am too. Start. Well, we'll have some dinner sent over from the hotel. Ah, let's not. No, they'd send a waiter.  Let's see if your larder is as well stocked as your bar. Will you join me? Anyone would know you were a member of the gourmet society, JD. Cornish game hen, hearts of palm and brandy peaches. It's quite a snack. And it's only seven twenty-four. You have plenty of time to enjoy it. Do I untie you so you can eat? Certainly, I'm not hungry. Oh, but you must eat something. Gabe, you were going to consider my offer. Oh, yeah. Oh, I wouldn't count on it, JD. I'm afraid it's a little too late for mercy. Coffee? No. Well, let me slice you some of this creer. What's that? What's what? There's a car turning in. Who do you know who drives a pale blue cad convertible? My wife. It's Iris. So? She must have driven down.  You might as well give up the game right now. Oh, not necessarily. Twilight. It was dim, dark in the front room. What are you going to do? First, gag you again.   I swear, gay, I'll... No. Wipe off my lipstick and I'll take this broom with me. Yes, Mom? Oh, hello. Who are you? Your maid, Mom, from the hotel. Mr. Zimmer, he wanted some cleaning up then. Oh, I see. Mrs. Zimmer, I forgot my keys. Where is Mr. Zimmer? Out. Out? To dinner. But I thought... Where was he going? Did he say? Oh, I wouldn't be knowing. Oh, some club somewhere. The Palm Club? The Tennis Club? Oh, that might be it. Oh, this is the Tennis Club. Oh, well, I'll drive over and join him. After a drink of water to drive through the desert is simply hard. Oh, wait. I'll get it for you, Mom. I know. Don't bother. I'll just run out to the kitchen. Oh, well, I was that worried I was about his going out. Him was the mark of the grave on him. The mark of the... What are you talking about? Him with a shadow in his eyes and the pain not ten minutes gone from his heart. And will he get to bed and let me bring him something? Oh, not him. A telephone call and off he goes. Are you trying to tell me my husband had a heart attack? It was just a slight one. When did this happen? Oh, why not ten minutes after I got here, Mom? Oh, I knew it this morning. I was born with a call and I had the feeling. The minute I opened my eyes, I said, There'll be trouble this day. I said... Don't do be quiet. I better get over there. Just leave the latch off the door. We won't be late. Hope you're not too late, Mom. Goodbye. Well, JD, you can talk again now. What have you done to my wife? She's gone. Where is she? I sent her into town to search for you. She thinks I'm the maid. And she thinks I'm a little odd. The maid? Why, with a napkin round my head and my lipstick wiped off? You know, lipstick makes a remarkable difference to a woman. She'll be back. When she can't find me, she'll be back. Not in your lifetime, JD. Now we go into the living room. Allow me. The kitchen clock must have been a little slow. Twenty-two minutes for nine. Twenty-two minutes, JD. Want anything special to pass the time? Jay, I... I... No. Nothing. No? No entertainment, JD? And how about a little music on the radio? And then I'll sit down. We shall have twenty-one minutes to wait. I'm really very tired. Odd how much planning a murder takes out of one. My hand's free. Get me the police. Quickly. Too late. Put down that phone. You thought I was asleep, but I wasn't. You might say that I was acting. It's nine o'clock, JD. Get up and walk towards the pool. Gay.  Get out of that chair. Gay, please. Listen to me. Gay, I've been wrong, but I'll make it up to you. You can have anything, money, parts, anything, Gay.   I beg you. I beg you. Don't, don't. All right, JD. The audition's over. It was rather drastic, perhaps. And I'm sorry, but it was the only way I knew. Gay? Just an act. It was all an act, JD. The threat. And that. The pace-off. The madness. Even the sexy scene with the delivery boy. After all, I had to prove to you that I could be something more than a song and dance girl. You think about it, JD, while I see who's at the door. Maybe it's Iris back again. Why, please, oh, my favorite director and Penny. Okay, okay. See, what is all this? I was all set with Laura Bevin for Dark Lady. When I got word, you were to do it. I came down to corner JD and find out what goes. He's right in there. You can ask him. Well, good evening, JD. What's the matter with him? He's unconscious. Unconscious? But he was all right a minute ago. Get some brandy. Now, don't bother. He's dead. Dead? But he can't be. He can't. JD. Look at the expression on his face. Yeah. He looks scared. Scared to death. In which Miss June Lockhart starred in William M. Robeson's production of Shooting Star by Ruth Bourne. Listen. Listen again next week when we return with Jeff Chandler and the Mother Tale, well calculated, to keep you in suspense. Supporting Miss Lockhart and Shooting Star were Ellen Morgan, Joda Santos, Shepard Menken, Dick Crenna, and Hans Conrad. This is the CBS Radio Network. CBS in Northeastern Pennsylvania, WGBI, AM, FM, Scranton.


Hi, and here is a video about blending modes, so I wanted to start this video with the Color Dodge blending mode. You can find it on Krita in the Lighten category of blending mode and it's one of the most fun blending mode around and that's why I start with it. I do with this blending mode all my lighting effects, so all the light, direct point light, glows, coronas, lasers, neurons and all the magic stuff. I usually get better results with this blending mode when I select very dark and saturated colors and I apply also many little strokes till I obtain a result with a nice color now around. You can also use this blending mode applied on a big brush to color the air or to color the atmospheric effect on your canvas. So it can be a light source outside your canvas and you can symbolize it by a subtle gradient applying on the bottom or on the top right or on the diagonal of your piece. Last advice for this blending mode is to not overuse it because if you use it too much it will create very strong saturation point everywhere and attract eyes and also destroy your piece with too much saturated color point everywhere. So be very subtle in this demo I do it very very strong to show you some visual feedback and to let you understand what the blending mode is doing but be very subtle with it. It can really enhance your piece as it can ruin it if you do it too much. The second blending mode I want to introduce to you is the color blending mode and it's a blending mode you can find on Krita under the HSY category and this blending mode have a very obvious mission it's change the color but only the color so it will protect the value under your brush but just change the color. This is what does the default color blending mode and I use it to color my black and white preparation when I do an artwork we call it Grease Eye here but I don't know how to pronounce it in English. The result of your colorization might look a bit dull and grayish but that's normal because it's very hard to predict when you paint your black and white preparation how the color blending mode will really react over your final results. So I don't use it as the end tool you'll see that I do another pass with another blending mode I will present just after this one but it's very good to do a first pass and do some colorization draft. It's also a very good blending mode when you do a speed painting or when you do a painting and you have some saturation spot as on this dragon very blue saturated spot and you want to remove them so you just select the color blending mode and you select some gray color and with gray color it will be a perfect blending mode to do any job of desaturation so just reduce the opacity and do a bit of desaturation. And my final example of this Nyan Cat picture on the right is to show you that I use sometime another blending mode who do also the color it's under the HSL it's named color HSL and this blending mode have a priority on color more than on the value so I can paint more my model under more like a plaster model more like a sculpture and then apply the color on the top so you can see on this rainbow that I painted it like a dropery and I apply the color yellow orange red so depending how you do your gris eye or your black and white artwork if you do it with thinking about the value or if you do it like a plaster sculpture you will select the color blending mode or the color HSL blending mode to to make a a better colorization but still keep in mind that it's just a draft and you will need another pass of another blending mode if you want to write the contrast and make the saturation and that's what invites us to discover the next blending mode and the next blending mode is also probably my favorite one it's the overlay blending mode and you can find it on Krita under the mix category the overlay blending mode is a conditional blending mode so it's combined to blending mode a darkening one if you select a color under the gray 50% and a brightening one if you select a color over the gray 50% my primary usage of this blending mode is to enhance the contrast or vivid color or boost the color of a zone when I have a hard work a bit dual with grayish aspect this syndrome of grayish and dual artwork happen a lot with my method so I'm very dependent of a very good overlay blending mode and as you can see on this little pupae dog I can really boost the the color everywhere or write the contrast or crease the shadow or boost the light on the volume of this little creature another usage I have with this blending mode is of course to just overlay a textures so you just drag and drop textures black and white and put the blending mode on your layer to the overlay blending mode because this blending mode is conditional all the dark part of your texture will be displayed on your volume and all the highlight part will also be displayed on your volume only the 50% gray will remain transparent so you will have some rich texture effect so some rich little grain on the highlight and some rich little grain and crease on the dark part and it's really convenient when you have like on this artwork just a simple cube and your overlay pattern a bit more complex on it my third usage with the overlay blending mode is to simulate the subsurface catering it's an effect when the light is coming through a material and you have on the shadow a very saturated part so I guess now you better understand why it's one of my favorite blending mode because there is so much color correction you can do with it it's easy to fix a light it's easy to fix a shadow but just be careful because you can also destroy an artwork by making the color over burn the color too saturated and the light to dodgy another blending mode I use a lot is the lighten blending mode and you can simply find it on crit a category lighten lighten is a comparative blending mode so lighten will paint only if the value on the canvas is darker than the value on your brush this simple property to lighten only will help you a lot to keep the object into the distance and to just shut down a bit hold the object with the two strong value in your artwork so it's a blending mode to mostly manage the value of your artwork and to make sure that your main subject the character or the main object of your composition is not surrounded by stronger value around and the last blending mode I want to present in this video is the multiply blending mode it's a blending mode you will find on the critter interface within the arithmetic category the multiply blending mode is very popular among all the digital painters because it's probably the effect that is the more near of the traditional oil glazing painting technique I'm using here the multiply blending mode in many situations the first one is when I need to apply some pattern at the end of the painting and like on this painting the stripe on the arm of pepper or the stripes on the the little cat I also use a multiply when I need to apply a very large casted shadow over a scene like this example in the middle and my last usage of a multiply blending mode is when I need to paint a tattoo or when I need to do some makeup or inject a bit of blood under the skin on a portrait and that's how finish this video I hope you learned something about the blending mode and you will use them more often in your artwork if you have another tips don't hesitate to share them on the comments if you have questions also don't hesitate to comment on this video as you can probably hear it's still very difficult for me to do video with voice over but I try to improve and I try to keep doing it so thanks again for watching


People that are boys, there's people that are girls, there are people whose gender might be a little bit of both or might even be neither. You think about why this is so damaging. If a child cannot know 100% whether they are a girl or a boy, then they can't know anything. That everything in the world is arbitrary and is just up for subjective opinion and perspective that leads a child into a place where there's no stability, there's no foundation or world is just out of control and there is no truth. That is a dangerous mental place to put a child in or anyone for that matter. Here's the truth. There is no neutral education. Your children are going to be discipled by someone.