Our guy Lamar Jackson turned down a deal so he could focus, team keep it clean. What's going on, baby? Hope y'all doing really, really, really good. No, no, not good. I hope y'all doing great. Now, I wish I was in a position to be turning down Netflix deals. Because Netflix hit me, well, depending on what it would be. I wouldn't just accept anything, but Netflix hit me up like nine times out of 10.  But it would all depend on a lot of the contract and stuff like that. I have to review all the terms and conditions and whatnot. But anyway, Lamar Jackson, I'm sure a lot of you have seen Quarterback, the Netflix series about the Quarterback. So this first season, it featured Patrick Mahomes. It featured Kirk Cousins. It featured Marcus Mariota. They threw him in there. Oh, OK, hey, I ain't mad at it, though. Because I appreciate seeing these different levels of Quarterbacks just seeing their journey, seeing their background story, seeing them behind the scenes stuff. It's different. It's different. It's cool, but it's different. But it is a lot. It is a lot to be walking around with the cameras on you too, because the camera's already on these guys a lot already, even without them having their own show. But you have you on this Netflix show, too.  Now, I've only watched the episode and a half. And I thought that, OK, it's a Netflix series about the Quarterbacks. It's probably going to be like two, three episodes. Nope, I was wrong. I think it's like eight, nine episodes long. So I'm only an episode and a half in. So far, so good. So it's cool. It ain't like, oh, my goodness, I got to go and watch the next episode, as you can tell, because I'm only one and a half episodes in. But it's cool. It's something that's different. It reminds me of a more variety version of Hard Knocks. Hard Knocks, they focus on one team. That's a lot of different guys. They take the camera out on some different people. They'll have some guys where they focus on a bit more usually like the star players and whatnot. And some like bubble players, they'll focus on two. And then just to watch their journey, see if they make the team, see if they don't. But this is focused just on these three quarterbacks. And they have approached quite a few different people about it. But I guess they recently approached Lamar Jackson. And Jeff's Rebic let us know Lamar Jackson the answer. He said Lamar Jackson said Netflix reached out to him about their quarterback series. And he was appreciative. Lamar was like, oh, this is great. This is nice. Thank you. But no, he's focusing on ball right now. And I ain't mad at it. I ain't mad at it. I know a lot of people have turned it down. Jalen Hurts turned it down. Tua turned it down. It is a long list because I've been reading. I remember just a little lesson a week ago, there was these reports that just kept coming out of all these different quarterbacks that would just turn it down, turn it down, turn it down. So I guess you got to throw Lamar Jackson's name on that list too. Tua, I believe it was Tua in black. 99.9% sure it was Tua who said it. But Tua said the reason that he turned it down was because he just, he didn't want the camera. He just didn't want to, it was too much camera time. It's too much camera time into his personal life and then the personal life of other people as well. So he said he didn't want that. And I get it. I get it. I guess Tua was just like, look, I want football to have its place. And I want my personal life to have its place as well. And I respect that, respect Tua for that because that's real right there. You don't want to just always be mixing business and personal or whatnot. You want to keep those two separate. So shout out to Tua for that.  But certainly this year with Lamar Jackson with the weapons that he has at his disposal now, just learning a new offense. Just getting acclimated with the guys building chemistry with his teammates. That's all super, super important stuff. And he is obviously taking that seriously as you all have seen. But we'll continue to take it seriously because this is of the essence. He just got paid. I'm sure he's wanting to shut a lot of people up because we'll continue to shut a lot of people up. He's looking to have a bounce back year. I mean, he was doing good last year, but then he ended up getting hurt. And that was that. So it's just a lot going on right now, but I get it. I get it. It would have been cool to see Lamar but behind the scenes and stuff with the cameras rolling around and whatnot, even though he's like the same person. He's like super like just a normal dude, man. He's just really a normal dude. He ain't like, I don't even know how to explain it. He's just a regular person, man. Again, every time you don't meet him, he's a regular person.  So that's, it makes you appreciate him even more. Very approachable, always willing to talk. Just super cool. And plenty of y'all that have met him before. Y'all know. So with the cameras and stuff, probably just make it weird. Like again, it's already enough cameras on him already but to have additional, even more on top of what's already, especially with him being Lamar Jackson. Oh boy. You know, he's a very private person too. So for a private person to have cameras following them around 24 seven like that. Yeah, that's tough. So Lamar, we ain't mad at you.  But it's like, it's funny because all these quarterbacks, they've been turning it down. So many quarterbacks been turned. I ain't heard not one quarterback who has accepted it. Even Justin Fields, he was another one on the list that turned it down. So many quarterbacks have been turned. They gonna have to change the show to running backs or wide receivers or something.  No, no, no, no, no. I wonder if maybe there was the episode or something that I haven't seen yet that just a lot of these quarterbacks of players don't like. Maybe they painted a bad picture. Whether it be my homes or Kirk Cousins or Marriota, maybe they painted them in a bad light. I don't know what it was, but all these quarterbacks have been, like a lot of quarterbacks have been saying no. So I wonder what it is, like why? Like, and it's the same way. I don't know, maybe, I know some of them actors are on strike right now. I wonder if maybe some of these NFL players, they trying to go on strike too. They trying to go on strike from getting recorded, having these cameras in their face even more than they already are. Cause you know how a lot of these quarterbacks have been turning down this Netflix series, but a bunch of teams, they were turning down hard knocks earlier. Nobody want to do hard knocks. Jets ain't want to do it either. But NFL's like, look, we own y'all. We own y'all, so Jets, you ain't got a choice. So now Jets locked in doing hard knocks. So it may be, I don't know what it is, man. Why everybody been saying no.   You're only getting it cause everybody turned it down. It's like them super, super alternates to the pro bowl. I know a lot of people feel like, oh man, yeah, you just getting it cause everybody turned, like everybody turned it down. But let's see, we'll see how it goes, man. It'll still be cool. Whoever ends up accepting it, it'll be neat to see them in a different light. It's always neat to what I appreciate about a lot of those shows, like stuff like that, where you get a behind the scenes with a player. I like to, I like how they mix it up because I like how if it's a player that's really popular or whatnot, you're gonna see the behind the scenes. Oh, how are they and whatnot? Even though the cameras, they could lie possibly. Cause those shows are obviously edited and whatnot. You can't put all the footage in there. But it's also nice to get to see a different side of a player who you may not know or who you may not know as much. But either way, Lamar, who we all do know, he ain't gonna be doing a show. And Lamar said, Netflix, hey, I love y'all. I appreciate the opportunity, but I'm out.


God's beauty is all around us and my goal as an artist is to capture and interpret that beauty on canvas and to take you the viewer along with me on this painting journey. Hello and welcome to Painting Journeys. My name is Kitty Lynn Klisch and I'd like to welcome you to the final episode of Painting Journeys. It's been a long journey. We've traveled many, many places together and if you are one of my faithful followers that I hear from almost on a weekly basis, just hang in there and keep on painting or keep on watching art. The world of art is a beautiful place to live but I must step back now. I won't be taking any more journeys and so it's time for the show to end. But this is our last, our very last show and so I thought in honor of that I should show you the first show, the first, from the first taping of Painting Journeys. This is the painting that I painted. The name of it is Tongues Narrows and we were in Ketchikan, Alaska. I'm sure you must remember that. It was my first Painting Journeys show and I don't know, we've come a long way. We've traveled far. We've been everywhere. We've been to Alaska, we've been to Ireland, we've been to Italy. We've been all over the United States and now it's time for me to bring you to where I live, coming home, Sheboygan County, Wisconsin. And one of my favorite things about Sheboygan County is that we have the shoreline of Lake Michigan. Lake Michigan is so beautiful. It's just unbelievably beautiful, especially in the evening when the sun is setting and of course as we're looking out of the lake we're looking toward the east but there's something that happens when the sun sets in the west that catches the light and the clouds and there's just like a golden orangeish aura over the whole thing that is so beautiful. Right now this we're at North Point. Now North Point in Sheboygan along the Riverside is the most southern part of the town of Sheboygan that you can view the lake from and be right on the lake front you know and so I decided that this is what I was going to paint for our last show so that you could see what it's like for me when I come home. Okay so stay tuned. We're going to get started right now. I took the liberty of starting this painting this morning and I wanted to get that gold sky in there. I wanted to get the buildings and I can even name those buildings but I won't bore you to death with that but the smokestacks and at one time big ships used to bring freight and things into the port of Sheboygan. They would come up from Chicago and everything so it was a very active city as far as you know the water was concerned and the imports and things but then that all kind of evened out and the city became more of a manufacturing center and we've had some really great businesses there you know so anyway here we go now we have lots of lots of beautiful places where you live right on the right on the shoreline there and it's it's really neat and this this little red lighthouse over here oh there's a long walk that goes out there and it's just so exciting to be there with those big giant waves are coming over and you have to be careful because people have actually been washed off that walk that goes out to that lighthouse so it's kind of it can be kind of a dangerous place but anyway I think I really what I really want to tackle first is this big beautiful cloud up here it is so lovely with the pinks and the violets and the blues in it so I think that's the first place I'm going to go so without further ado we're going to get busy all righty here and my paint is all mixed up I'm using a I'm using a very I would say a smaller palette than usual I usually have more colors than that but on my palette but I decided to go with with a smaller color range and mix a lot because really and truly I wanted to kind of test myself you know I want to go out with a flourish of course so I'm going to try these little guys right up here and we we have to remember that there's light shining through so we have to keep the the cloud nice and nice and kind of translucent especially these little guys up here so I'm going to wipe my brush and dip it in a little tiny bit of oil to make it the paint a little bit thinner and I'm going to come up here and let me see that's right over that white building right there and it's right about in here and then it comes up in here and like that and we're just going to soften that in there we go there maybe we'll put a little pink around them pinkish orange whoops a little too much this is very juicy because I'm using this medium today and I don't usually use a medium because I I don't want my my paint to be so juicy but today I do today I do and then yeah there we go that does it I'm happy okay now we're going to come up here and we're going to try to come in there again with a little bit of the oil this oil is an extender and it really um and I I'm not going to tell you the brand but I am going to tell you what kind of a boil it is it's walnut oil and it's absolutely fantastic for making the paint flow putting on thin applications so that you can see that they look more translucent very uh that's that's a it's a very good oil for that type of of uh painting now we want that to be a little bit darker right in there and I don't want to get caught up in anything that is going to be too distracting with all these little tiny bits of clouds that are going across because my big dramatic cloud that's the one I want to go to town on that's the one that's important and he's coming right about in here there's a big dark spot right in there nice in nice blue I've got blue violet and a little bit of green sap green in there and I'm going to put this on kind of rough and then I'm going to come back over it and soften it in you know how I love a soft look in my paintings I really do yeah okay now up here on the bear canvas it's going to go on a little nicer because it's not sitting on top of what I've already painted um so that's going to work a little better here for me and I'm going to make this kind of dark here because because I want to that's why yeah because I want to nothing wrong with that all righty now we'll take another brush let's get a bigger brush I think on my last painting for you I should use a bigger brush just to show you that I know how to use a bigger brush okay right up in here we're going to have some gold it's going to be kind of bright right there it looks a little redder doesn't it we have to make it a little redder right in here there we go that's what I wanted and there's a little touch right in there too okay and a little bit over in here a little bit down in here all right and remember how I told you many many times it's we're not trying to copy the photograph we're trying to create and so it's very very important that you keep that in mind if your painting does not look exactly like the photograph then good for you because that means that you have created and not copied always remember that create don't copy now this is I mean this is okay I'm going to be putting some blue in it but I want to get that nice and clean in there so that I know that it's going to stand out really good right in in the area where I see that okay and as I soften it and then I'll come down into the blue again a little bit of light in there and wipe the brush and here we go with a little a little lighter violet a very sweet gentle violet coming right down here and I'm making this cloud a little bit bigger because to tell you the truth to me this cloud is one of the most important things on the on the painting so I'm making them a little bit bigger and there again it's my painting I get to do what I want to do and that's what's the fun the fun part about being the one with the brush in your hand okay that's not too bad now I'm going to take a clean brush and I'm going to try to soften this just a little tiny bit of oil my walnut oil and I'm going to try to soften this and make it all come like it's cloud there and now you see what's happening we need a little dark on top here we're getting a little too light up in that area just a little darker just so we remember that there are those darker parts of the cloud that the sunset is not hitting as much it's kind of sad for me to be ending this series my former series gallery works I know a lot of you watch that show for years probably some of you are still seeing it and rerun and now you'll be able to see this in rerun so it's not like it's going to be off the air you'll still be able to see it and if you should ever decide that you'd like to have your own personal autographed copy of the painting of a painting or of a show you just email me look for the information at the end of the taping email me and I will and just put tv show on it and I will make sure that you are sent your own copy that will be autographed of the of the show whatever show you like okay now that looks like it needs just a little more yellow orange right up in here because I'm seeing a little bit too much of this violet and I don't like that there we go now I think that looks pretty good I have a little bit too much coming down so I'm going to go back into my sky and I'm just going to clean this area up a little bit okay and that's how you do it just clean that up a little bit and there we go there we go that looks okay maybe we need just a little bit of blue a nice light greenish blue coming in from the sky color it's lighter and it's really really uh it's such a soft color all the colors of the sky are so soft and I want to just put that in there to kind of like show you what that sky is like right in there there we go and maybe just a little touch right here so that we feel like there now that that cloud is gorgeous I think and I'm going to start on the water just like that let me see I see blue and green um see lots of blue and green in that water it's really a gorgeous turquoise color and then down here if you see you can see the the reflections in the water of the purple and the blue in the sky beautiful beautiful beautiful sky I don't like this over here I'm going to go back in there taking a second look at it and I've decided nope it's not going to work for me so because it's my painting and I can do it I'm just going to go back in here and clean this up a little bit and that'll look better of course see don't be scared don't be scared you know attack that painting attacked it with gusto paint it like you love it mean it make your strokes count all righty let's see here we're going to get some blue green together I'm just mixing a nice a nice mixture of sap green and French ultramarine blue and let me put that up here am I close pretty close yeah I am pretty close maybe a little bluer and then I'm going to add a little bit of white and I've got some of that violet in there too so um that's going to give it a little oh just a little hint of a of a nice soft color all right now we already have our violet going across to show distance I have the lighthouse quite bright and I'm going to leave it that way and I'll tell you why because um that bright that lighthouse when the light hits it at a certain time of the day it just looks like it's on fire I'm going to leave it there and I know you don't see a lighthouse here in the picture in this photograph of north point but trust me there is right about over here on the edge there is a lighthouse so I took the prerogative of moving it in because I want you to know what it looks like so there we go all right now here we go okay now we don't see any waves and I'm going to have to come back over that and hit it with some dark paint because that's a cement wall right there and I just obliterated it with my big brush so I'm going to come back in and try to get that back in there because that that's important there we go okay the director of my show um painting journeys is also an artist a very well known watercolor artist and his motto that he learned from his instructor was to keep it simple and so I thought in honor of my director for my last show I would try to follow his advice and keep it simple now darn it went back over it again well you know what happens then we're not afraid of it we just fix it there we go okay now as we're getting a little closer we're going to want that um water to be just a little darker and I'm going to start coming down with my with my brush strokes I've got my back laid in where we don't see any any waves or anything like that um but now I'm going to start coming in with lights and darks and um all right now I just notice something else see this dark line right up here right there I have to go back and I have to take care of that I want that in there that's important you know that's what happens you step back away from your painting and you see stuff that you've either painted over or you've missed so it's always really good to step back and then take a look at it and then go back and attack if you well maybe attack is kind of a strong word but all righty let's see here I want this right in here this little this little bit of dark right in here that I'm seeing and I want this to be darker up here too I think I lost some of that when I um um was kind of softening so now we'll take that where is that clean brush at oh dear hmm what happened to the clean brush I don't think we have it anymore we'll try this one and see how it works just to soften that in a little bit there we go I add there we go yep I like that I'm gonna put a little bit more violet right in here coming through here that was lost and then of course now I want to tell you because somebody emailed me um a week or two ago and they were asking about this tool this is a wipeout tool all right as you can see it is pointed on one end it's rubber the center part that you hold is wood and the other end is kind of chiseled okay and it makes the absolute best tool because it's rubber for wiping out when you want to remove paint so I'm going to show you in a demo this okay here you go right here see this beautiful light kind of area right in there I'm going to remove the paint so that I can make that area a little lighter with the violet and now I'm going to take some a little bit of a lighter violet and I'm going to put in there okay and you have to be careful not to dub too terribly much I see a tiny little bit of orange in here also tiny little bit right in there just a little you know the colors of nature are so difficult to capture on your canvas because it's God's creation and us mere mortals we struggle there we go now does that look a little better I think it does I think it does yeah all righty have to be careful because I'll get in that trap where I want to make it look like a a photograph and I don't want to do that I really don't want to do that I want this to be my rendition or my I can't think of the word right now but anyway I want it to be how I feel about the the lake I want it to be my interpret that's it interpretation that was the word I was looking for thank you whoever said that okay I think we need to get a little bit more blue in here I think I have a little bit too much green so I'm going to put more blue in and I know that looks funny but you just wait and see what's going to happen you know because we're going to be doing some pretty good stuff here pretty soon and all this dark down here is going to have we're going to put the highlights on it and everything okay all right now I just got the word that the show is half over I'm sorry kids we're halfway there inga but that's okay that's okay because we're doing good stuff good stuff for you I'm really glad that you are with me today I'm glad that you're watching the show I hope you're enjoying it I hope you've enjoyed all of the shows that I've done on painting journeys taking those trips with two with me to the different destinations that we've gone to gosh we've gone to Germany we've gone oh so many places local in the state in the united states in washington state remember the beautiful pacific ocean paintings that we did I mean we have just we have journeyed so long together now it's been I think it's been a little over three years and almost 40 different shows and it's just yeah it's just really really been a wonderful wonderful experience to share my journeys with you and I'm so glad that you tune in all right now let's see here now I'm going to take the wipeout tool well not quite yet I'm going to take this a smaller brush and I'm going to go for some waves back in here just a little now by making the brushstrokes go down then when I come back over them it'll look like this is deep water but it has a surface on it that's the sole purpose of making those strokes strokes go down and then coming back with the little tiny brushstrokes to create a wave look and a surface on the water we do have lots of lots of uh of waves coming in so this is probably going to be kind of tedious for you to watch I'm working with my microscopic brush again I don't know kids I just can't seem to get away from that microscopic brush but then these are little tiny waves because they're way in the back all right so we don't want those to be too big we want them to look smaller and I think back there there's usually a lot of wave action right around the pier that goes out to the the lighthouse so I think back here I'm just going to put just a little bit of white so that we can kind of get that feeling that there's waves coming up on that pier now now I'm making stuff up okay but that's my prerogative because I know that they're there so I'm going to put them there all righty and then more more little waves we want the water to look very very choppy that's one thing about Lake Michigan when I first moved here I was so sad to leave California and and and leave the Pacific Ocean I mean that's where I had grown up and I had loved it so much out there and you know I the first time I saw Lake Michigan I thought oh my gosh it's so big and beautiful it's just like and with the beaches clean beautiful beaches and and so so beautiful that I thought my gosh the only difference is that the waves keep coming in they don't go back out they just keep coming in coming forward you know and that's the only difference it was just as beautiful to me as the ocean was and I was really surprised and happy at that because I'm really a water person I love the water I love it a lot now you see that surface that we're getting now it really looks like the water has a surface on it and that's by making those strokes go down remember that put your strokes going when you're doing water put your strokes going downward first then come across the top with another brush with paint and you can make your waves or your or even a dry brush you could even dry brush this and and have the effect of of of the water okay okay here a little more turquoisey color back in here and got a little a little light on me all righty let's see now I think we now we have to start making some dark waves as they're coming closer I'm sorry I'm not talking I'm just kind of this is this is a I'm getting to the down to the nitty gritty here and I want to I want to be sure and make this water look like I want it to look and I just come across here with some little areas of light so that I can make those little areas of the reflection of the sky onto the water need a different brush and now let's see here perhaps do we have a bigger brush yes this looks like a good one nice light over here I think we need some of that orange too in here nice light in here let's see here we'll come back and we'll oh we'll keep that brush and we'll start making these waves a little bit bigger and darker all righty and right in here and I think I don't see any foam but I really like waves to have a little foam on the top so I'm going to put a little a little foam on mine the water is getting pretty choppy up there just like I wanted it's just the way it looks and we'll put some little reflections in it from the cloud and then we're going to take some white and make just a little bit of a white cap okay oh I didn't bring enough brushes today did I well you know what just have to work with what you got don't complain just make do all right well this guy work let's see I'm thinking about just a little tiny bit of a white cap on this guy and maybe a little bit on this guy here and he's coming down to maybe we'll just have some little white dots back there in the water to just kind of show the little white caps maybe we need to go back even further I think I see I want them even further back I saw a painting one time where someone had painted on glass I'd never seen anything like that before in my life and they had painted the ocean on glass and they took on the back of a piece of glass okay and they took a pin and they pulled holes in the paint of their in the water of the paint and so the the light coming through looked like those little sparkly things on the on the ocean that you see when you're looking out there it was it was really amazing and and quite a technique I've never had the nerve to try that but I I never have forgotten that either okay let's see here okay maybe we could have a little more yeah yeah that looks like it's coming in pretty good and then we could have a little more here okay looks pretty choppy I don't want to try to do too much I don't want to mess it up I want to get some of that let's see here it's kind of a it's peachy but it's yellow and and it's got all these cool colors in it and I I think probably my director he's probably looking at me now and he's saying kitty you're not doing it you're getting too fussy keep it simple okay I will I promise maybe maybe not there we go mumbling to myself all right now right down here we have some beach and we have uh there we go nice little light color of beach and then it's coming right along in here and that needs to be lightened up there we go here we go and that comes down there and now if I were to if this was a class I would tell you that this is my discord this color down here that would kind of be my discord and there are some little birds there and I have to kind of soften along in here a little bit and make this a little bit bigger right there because it's coming into the beach it's coming into the water there okay so we're going to soften that a little bit there we go and right here we're going to have a lovely nice little whiteish white kind of a foamy type thing that comes up onto the water right here there we go and then that's going to be pulling back like so now we need some of the strokes of the violet to be coming across here because that's where our our biggest amount of reflection is and I have to before I forget I have to thank my favorite cameraman Richard who's been with me all these years been faithful and doing the shows and putting up with my with my wishes and making it the best he possibly can I have to really give him a big thank you because he has been a jewel and I have to thank Sarah who's my camera lady and for all that she's put into making this show what it is all right you know it's just I don't think this is working for me come on kitty get it in gear here well I don't know if that looks like water or not what do you think huh no don't answer that oh goodness sakes the fun we have there now it looks like water and then down in here I think what I did is I did too much of this business up here I'm going to soften some of that yeah that tiny brush business oh boy and this guy here he could really use a little more water coming down like he's really coming in there and he could be a little flatter there we go there we go yep hey that looks not too bad all right um let me see here where do we go next what do we do well I think I'm going to go back up into um here and I want to make this cloud show up just a little bit more so that you can see this low hanging cloud right in there there a little bit better okay and typically when we're down there uh when I'm down there at north point there's a little bit of smoke coming out of these chimneys okay so I'm going to just put that little bit of smoke there can you see that there we go and now let me see what else do I want to put in here okay I think um the backside of my cloud needs to be a little bit darker over here there he is and I think I'm going to put just you know what I'm doing right now kids I am killing time because I thought I would be so smart and get some of this done because I wanted to have this painting done for you by the end of this show and sometimes you're out smart yourself okay so I'm killing time but that's okay because I'm making my painting better I'm gonna put just a little bit of bright red on the roof there we go that shows up a little better and coming down here there we go that shows up nice all righty and oh let's see here I see I see some ducks down here I think maybe I will make a duck yes I'm going to make a duck they're always down there they're always begging for food they chase after you it's a funniest thing you know you throw that food and they all just come running like little crazy people it's crazy I love them so I'm gonna put one in my in my final painting here just for you he's going to be and we need to put he needs to be darker he's not showing up so we're making just a little bit darker and we're going to give him a friend and maybe one floating out here okay now we'll put some highlights on them and I think I need some highlights on their heads so they show up just a little better okay and this one's in the water so oh well I don't know if we needed that or not I now now that I look at the painting I'm thinking to myself that lighthouse is too dark I mean too bright too bright it's far away and I've made it too bright so sometimes you have to trust your eyes and not your mind your mind will tell you one thing and if you look real hard your eyes will tell you another so somehow or another I have to balance my hand and get in here and darken the back side of the lighthouse all right much better much better okay let's see maybe if I put I know those birds are dark but I don't even see them I know what I'll do I'll lighten the area that is around them because it's dark against light and light against dark so if the birds are too not showing up it's because the they're too dark it's because the area that is around them is not light enough so I'm going to just put this in here like that and then that'll just show a little beach and here we go no I probably should just take these guys out they look kind of goofy huh oh well I don't care maybe I'll put some red in here red is good yeah and then I'm going to put a little green over it and then I'm going to make some more waves we're coming down to the wire and I want to sign it for you I'm going to make some more waves here have those ducks more out in the water okay I know what I'm going to call it done um this bothers me and I keep saying that don't I I'm going to call it done and then I say this bothers me but this needs to like that there we go now I'm going to sign it and where's my signing brush let me see here I'm sure I brought it and I'm sure I put it out it's a tiny little guy right here okay now where to sign it where would be the best place to sign it I don't want to sign it over here I don't think because my ducks are there but if I sign it here with all of this that's going to make it too heavy so I think what I'm going to do is I will sign it over here with the ducks and that may hopefully will distract the eye from those ugly ducklings all righty here we go taking some of my brilliant alizarin crimson my most very very favorite color in the whole wide world and I'm going to sign this for you and now when I sign it kids that means I can't touch it anymore it's a done deal now okay I really want to thank you this has been a marvelous marvelous run I thank you so much for joining me as I said earlier if you ever want to have a copy of a show just email me and put tv show on it and I'll make sure you get an autographed copy of the show I want to thank the staff and here WSCS television for hosting my program all these years and I most of all I want to thank you the viewer for tuning in and watching me it's with sadness that I leave but it's bye bye for now thank you so much


I'm supposed to have a discussion here about the computer hardware design. We'll get to that. I just have to really tell you how much I thank you for coming here. The most impressive things is all these different path of my life coalescing in this room today. It's really impressive and moving. Thank you very much for your remarks, Perilu. It wasn't great to make me cry right before the talk, but I hope. Okay. So I have a little story, and I'll try to keep it concise, given that we had a lot of remarks already.  Today, computers look all sorts of different things. We have wearables, we have home automation, we have virtual reality, drones. This thing, shut down your gas stove, in case you forget about it. And they can even do surgery in your belly. Why do we have all this? Because the all computing industry is driven by innovation. Innovation is a key to keep selling new products. Innovation is a key to deliver better performance, more feature, people always want more feature. I can dream, I watch Star Trek, I watch Star Wars, I can dream of application I don't have today. I know I would like to have them, somebody gives them to me. Lower power, lower cost, right? Of course cost is also another critical aspect that I keep going down to democratizing and to really push how people embrace computing. It has worked great for about 40, 50 years. It's no longer working that well. This plot that many of you probably have seen a million times is the technology node at which the top tier products were delivered for a top silicon manufacturing company in the US. You will figure out soon, even if you are not a computer designer. And so in 2001 it was 800 nanometers and every couple of years they would decrease by 0.7. So the Moore's law says we double the number of transistors every 18 months ish. That's why I give it a two years. Accommodation here. If you are not in computing, this is a little comparison node. Viruses about 100 nanometer in diameter, specifically coronavirus, like that. I didn't want to make coronaviruses everywhere. A 19 nanometer transistor, so that was 2005. One silicon atom is 20 angstrom, that's two nanometers. So everything was okay, I would say until 2014. And then things start slipping, we couldn't keep up with that two-year technology cadence. Today we are here, and what is happening is the same company has put out a product roadmap where they plan to reach seven nanometers, four nanometers, three nanometers, two nanometers, 1.8. However, those are no longer the dimension of the gate or the transistor. Those are marketing names. They say those are marketing names. Why do they do that? Because the other companies in the market has switched to marketing names. We'll give you better performance, don't worry about the size of this thing. And so, for instance, the seven nanometer that is out on the market today is exactly this product. But there's been remaining seven nanometers because the competitors call it seven nanometers, so we'll do the same. The bottom line is to tell you, we are no longer keeping up with that trend. All the benefit we got from the transistor that enable all those diversification of computing devices over the past 50 years are no longer there. And that's not the only problem. System innovation has been traditionally propelled by transistor scaling. That's waning right now. The complexity of designs has been skyrocketing. So that picture in the background there is an Apple SOC, the primary chip you have in an Apple smartphone. And you can see that from 2010 to 2018, the number of complex hardware components in that chip has just been growing. So think about managing how all these components talk to each other, packaging, everything, making sure that every piece of work is growing exponentially in complexity. And then the other problem is a meta application demands. Exactly what I was saying. I can dream today of application I cannot have. And I cannot have them not because the programmers cannot give them to me, but because the hardware behind it is not going to deliver. So this is an example of machine learning algorithms that do classification and they provide better and better accuracy, but the more accurate algorithms are the one that require more giga operations. So millions of operations per second. You can see that with the hardware I have today, if I want to ask my smartphone to tell me who are all the people in my phone, it can figure out two people a second. That's not meet and demand given the pictures I have. And it goes on and so forth for many different applications, virtual reality. We know what we want from virtual reality. Everybody knows that all of that has been there for decades, right? Why don't we get virtual reality because the hardware devices don't keep up with the latency? When you move your head, it cannot compute the new image quickly enough. It's just a hardware problem. So what has happened? Over the past five to seven years, computer architects have been coming to the rescue. They said, okay, we used to have the microprocessor. The microprocessor was always getting better because we were putting smaller transistors in it. Now that we cannot do that, let's specialize the processor. We designed a special processor for virtual reality, a special processor for graph computation, a special processor for images. So that specialization is gonna give me the improvement I cannot get from hardware. I'm gonna close the gap. A few ideas came up in the 1617. In more recent times, companies have actually produced specialized processors. So here, Google has a deep learning accelerators embedded in the Pixel 6 phone. Tesla has a self-driving chip that has two neural processor accelerators. This is a startup. It's called Samba Nova. It's actually my advisor, it's one of the co-founders, and they designed a reconfigurable neural processor. The company, to date, has received $1.1 billion in investments, and probably has given zero in sales. But the momentum is high, as you can tell. So before I go too deep in the story, I need to tell you a little bit about the ADA Center because it's the context of some of the ideas I'm gonna present today. The application-driving architecture research center was started in 2018. ADA, some people call it ADA, is now the American Disability Act. It's actually inspired by Ada Lovelace, who was the very first computer programmer in the 1800, early 1800. I want no computer, she was programming. If you ask me how she was programming, I don't know the name of that device now, on the moment, but you know, like two, the device that you can make cloth with, thank you, alum. Thanks a lot. So the center started in 2018. There are 21 faculty member, 130 PhD students from 10 different academic institutions, and there you see a whole DPI's of the center, including Tom Benish, and a number of my colleagues here. And it's funded by 12 industry sponsors, and DARPA, and NIST, and NSF, through a consortium called SRC. Now, the goals of the center, we were aware of the problem I discussed back then, was to reignite computing system innovation in the face of transistor no scaling anymore, or not at the pace we need, through sustained scalability, so new specialized architecture, embrace new silicon devices that are not the smaller CMOS transistor, but other ideas that can come up in the silicon world and non-silicon world, and then also sustained value creation. One of the key problems in the field is a thing became more and more complex. The specialization of the engineers needed to design those things got higher and higher, and because of the higher demand of specialization, the number of people that could contribute to that space start going down. I'll show you that in a second. So what we wanted to do is design flow, processes to design hardware that don't require to know everything about a clock tree, that don't require to understand every aspects of the voltage propagation through the system. Oh, sorry, these are the three themes the center were organized on. New architecture, embrace new technology, and develop new design flows. Today, we are five years in, and there is a legacy that is shaping up. First of all, we demonstrated that you can develop specialized processors in many different domains. If you look at the industry out there, it's pretty much neural network and machine learning. We demonstrated many, many different domains.  And we also developed a lot of benchmark suites because we figured out that researchers, especially computer engineers, love benchmarks. When you have a benchmark, you compete to beat your colleagues and provide better solution than your colleagues. So benchmarks are lighthouses that drive the research. So this is a sample, almost complete sample of all the specialized accelerators that were developed in the Ada Center. Graph processing, privacy, genomics, 3D image processing, speech recognition, also next generation machine learning, so natural language processing. We're also developing a specialized accelerator to support the explainable AI algorithms, which is becoming, the explainability aspect is becoming pretty required as AI gets deployed in very, in domains that are affecting human very closely. So the air out design specialization has become. The challenge is now that we don't just have one processor or maybe two designed by two companies around the world and leveraging the small and transistors. Who's gonna design all this stuff? So I went to the Bureau of Labor Statistics. These are the number of software developers reported by the Bureau. It was about a million people in the US in 2012. We're now over a million and a half. And the projection is that by 2031, we're gonna have over two million people in this country who are software developers. These are system software programmers. Those individuals that can program the lower level of the operating system, the drivers, the connection between hardware and software. And these are my computer hardware engineers, the people in charge of designing all those specialized processors. I know you cannot see the number because the pile is low.  It's 81,000 in 2031, 77,000 today. That's one to 20. So we have one hardware designer for 20 software developers. And the pressing thing is this went up significantly. This went down. And I think part of the reason it went down is the level of specialization required is increasing, continuously increasing. So we have a problem. I'm sure you got that by now. I'm gonna tell you a little bit how design works today and how we propose to solve the problem. So that's a wall, software on one side, hardware on the other side. How do I design hardware? I come up with a schematic. I develop an accelerator, a chip that is very good at doing one thing. And then from the architecture design, I have to do the view the side design, place and route, develop a prototype, embrace a new technology if I can. Great. On the other side, I have the software programmers. They pick up their favorite programming language. Usually today, people don't necessarily have to program in C and C++. There are these domain-specific languages that are super powerful for the domain you're programming in. Like Heli, it's a graphic programming language. It has primitives that like you do image transformation with one line of code. So the productivity of the software developers much higher, many fewer line of code to describe what they wanna do. And then that gets related to C and C++ because that's what we have out there. All these domain-specific languages that just compile into C and C++. Lots of people doing that job. Very few people doing this job. And how do we get this C and C++, which is very good at running on your genetic processor, how do we get them to run on this much more higher performance specialized processor? Well, we need a uniquely talented engineer that can understand the software side and the hardware side and change the compiler so we embrace the specialized hardware that we have on the other side. That's today. This is what I'm working on and I hope we can do. One, create design flaws that are easy to adopt. Design flaws that go from the high level domain-specific language to a piece of hardware without having to understand everything and everything else. And then increase the participation in the hardware design field so we're more blue people to design more components. Let's talk about ones. First of all, this thing about these design flaws, we did it once before. When I say we, I mean she. The she is Lynn Conway, who also is the namesake of our department chair. So let me tell you this story very briefly. In 1971, Intel released their first microprocessor. It was a 2,300 transistor drawing where every transistor was 10 micrometers. How did they do it? They sat at the table with a big piece of paper and they start drawing where every transistor goes. And if they do a mistake, they erase and they redraw. It was all done by hand, pencil and paper. And they did that and then they figured out a better way to do a processor and a better way to put more transistor. So by 1978, they were doing this. 29,000 transistors, very difficult to track on a piece of paper. So they were at a point where it was very, very difficult to continue to do better chips not because people didn't know how to scale a transistor but because it was so hard to track 29 pieces of thinking all on a piece of paper. So Lynn Conway came around. She's our colleague by the way. She's our emerita professor. And she came up with algorithm and rules that could automate how I lay out the transistor on a chip. And she came up with software program that help you not violate any of the rules so that people could write something that look almost like C. It's not a C, but it's much more manageable than a drawing and it's much more editable than a drawing. And not only she did that, but then she started teaching classes. And she went to different university teaching a class on how to do VLSI design. So there were kids in their 20s who could design microchips comparable to the one that the engineers at Intel were swiping and spending all their time trying to keep the story straight. That simple, my simple wasn't, but the innovative change radically changed how people were doing silicon design and open up a whole new scale or complexity that became available. In much smaller scale, the ETA Center has also been trying to work on creating infrastructure that connects these high level languages with this specialized microprocessor there. And how did they do that? We have a group of 21 different faculty, everybody has idea in a different direction, we get together, we discuss idea, we compare them, but as faculty member we love our ideas the best. So we have a few ideas here. This is approached by three colleagues from the center, one from Princeton, one from University of Washington and one from Harvard. And what they figure out is how to compile several programming languages for machine learning into accelerators, but these are general approaches, but these are four different accelerators for machine learning. And the way they do it is they create the control flow, the program in the high level language, we create small programs of everything that the accelerator can do. And then they use this ILA language to prove the equivalence between the primitives and the small program. And they match, then we have a match and we can compile the program into the accelerator. This is another project from one of my students who is here today. And basically the idea is I have my high level language, it has all these powerful primitives, I have a hardware accelerator or many of them who provide some function at very high performance. And what I do is I have an infrastructure that does trial and error and figure out what's the best match. So I know I have a match, but some matches don't give me a performance benefit so I don't need them. And you can identify the best match among a list of multiple processors. So here we show that we took the graphic programming language, it's used to express graph algorithms, it's very efficient for that. Two different graph accelerators. And if I only use one, I get a 45% performance improvement. If I use only the other, 17% is by hand, I pick the best for every call, I get 58% and with Nikola's automated way, I get 57%. So I can get very close to optimal without necessarily, without at all having any manual managing of that. These are other two infrastructure developed by PIs in the center to help computer architects develop silicon prototypes, silicon in hand prototype very quickly. They give you the motherboard, they tell you how to do the pinning, they have libraries for everything so that as long as you start with the description of your hardware in RTL, and you need $50,000 for the chip manufacturing, you can very quickly have your prototype. One, my colleague Mike Taylor told me that one time some of his colleagues at the University of Washington said, I have this special application, can you see if you can put it in one of your chips? And they went to look and the application was in Python. And he said, well, start by converting to C++, you may get what you want right there. I can't use increasing participation in the hardware design field. So we need more people as you saw that. And all of you already, well, all of you in the front line have already spoke about some of these initiatives. One is Africa Undergraduate Research Adventure, which is an undergraduate summer research experience for undergraduate students from Africa. I launched that work with Todd Austin in 2019. And so think about 2019. So we have two years of pandemic and two years of in-person. But as of today, we already see that the students who have graduated and have taken this program, they are very likely to pursue graduate studies. So over 60% of the participants are in graduate school, the vast majority in the US and the vast majority of those at the University of Michigan. So it's between 50 and 75% at U of M. But we're not selecting anyone to pursue graduate studies, whatever they want. This program has been generally supported by Ale Gallimore for many years. But we also have some industry sponsor who are very interested in getting more hardware designer and the Buffett Foundation. The other program is computing chaos. As Mary Lou mentioned, I started with her and Amir Kamil in 2015. Amir Kamil came a little bit later, maybe 2017. I don't know if you were our colleagues in 2015. Okay, good. And the idea is to have intervention in the classroom, in the lower division programming classroom to foster a more inclusive climate. So we teach them about stereotype threat. We teach them about implicit bias and we give them assignments that help them reflect about these aspects. And then the other thing we do is, we do monthly workshops that try to open their mind to opportunity they have by studying computer science that are beyond sitting in a cubicle and program the rest of your life. And also we have specific trainings that we do for the GSI and IAS of all those classes. So today we have trained 799 GSI and IAS and we have impacted over 70,000 students because computer science classes are very large. So each semester we have several thousand. This program has been supported at the third center initiative and by SIGWIT. So looking ahead, we are at an inflection point right now. As you probably have heard from the news, there have been several challenges in the semiconductor supply chain for many reasons, but the cost of fabricating chips, the ability to fabricate enough chips, the trust of chips produced by other companies and the leadership of the United States in this space. This plot shows you how many companies were delivering top node silicon in the years in the column. So in 2002, there were 25 companies in the world that would give you the smallest technology node and they would produce chips at that node. As time has gone by and the transistor got smaller and smaller, the number of players in the industry have shrunk. Also, this number in orange is how much does it cost to set up a fab, to set up a plant that can produce those silicon? So it used to be about $2 billion and today we're talking about $20 billion. So pretty much we have left with three companies, only one is in the US. So now you can solve the puzzle on the first slide. And these are all competing to all three of them stay in the market, which I actually think it's a great thing. They all switch to marketing names for that technology nodes and the capital investment to even start something like this is unapproachable by anybody who's not already in the market today. So it's only the survival of the fittest. The United States government in response to realizing the situation, the pandemic really created a exacerbation of the supply chain challenges as long as CHIPAC last August with the goal of bringing back the leadership in semiconductor into the US, growing the population of Americans and engineers that work in the field and they also put $52 billion on the table. As a result of this, a number of companies have already announced that they're gonna build fabs in the US. This started for the past couple of years. As you can see, I give you here the name of the company where they're planning to launch their fab, how much is estimated or how much they committed to invest. We're all talking at the $20 billion a piece here. And so as you can see Intel, TSMC, Samsung, all the free major player, Micron is a memory company and Texas Instruments and Goblet Fund, they are not necessarily doing the frontier node but they're also investing in growing the production of microchips. Here at the University of Michigan, I started to work with Eric Mikkelson to gather our strengths and our direction and propose the opportunity that we can provide, the problems we can solve as Michigan Engineering. So we launched this very recently. We launched this Michigan Advanced Vision for Education and Research in Integrated Circuit, MAVERIC. This is a retreat we did with 50 colleagues about a month ago. We identified several aspects in which we can provide innovation. For instance, what if we can manufacture transistor without rare earth material? So we wouldn't be dependent on the few country who have that material. What if we can provide trust in silicon even if we didn't manufacture it in a trusted fab? This is our Lurinanum Fabrication Facility and I really hope in the next few months we will be able to launch something with government funding in this space. Yeah, I'm not looking at you Alec. Don't worry. So I just want to thank a few people. The AB Research Lab, that's my students. It's called AB because Todd Austin is an A, I'm a B and he's Austin Bartacco, we meet together very often. They're all looking at me here. I just got myself out of this picture. And then this is my VPAL team, my Vice Provost for Engage Learning team, who also has been very supportive and I'm so happy to work with them. They're the best part of my job. And my family, my kids for putting up with all the work chat that happens at dinner and Todd for driving, cooking and everything they need for them. So thank you very much. Oh, wait, wait. And Mary Lou for keeping me alive all these years.


Let us start with the laboratory investigations. As I discussed in the previous lecture, normally two electrode or four electrode methods are used for determining the electrical properties of the soil that is the conductivity or resistivity and dielectric constant. Now, what are the applications of these type of investigations? One of network analyzer is a equipment which is normally used for determining electrical properties under laboratory conditions can have impedance analyzer or an LCR meter depending upon the frequency range in which you are interested in conducting the studies or mapping the impedance spectroscopy or impedance response of the geomaterial. Now, the basic difference is that the methods which are based on high frequencies, they basically adopt their propagation concept passed through the system and then try to map the velocity of electromagnetic waves or the time taken by them to get refracted from certain end or certain point in the medium. I am not going into the details of these methodologies, I am just giving you some general idea about the basic difference between how the frequency guides the basic methodology. The second class of methods is based on low frequencies where the frequency is less than 1 megahertz and these are based on equivalent elements or equivalent circuits because the wavelength does not come to the picture and the wavelength happens to be much larger than the size of the sample which is being studied. So, this is the basic difference between why do you adopt a low frequency and high frequency device for measuring electrical properties in laboratory. Then comes the concept of fuel investigations, good example of fuel investigations using electrical properties is ground penetrating radar. I had given some idea in the previous lecture particularly people from earth sciences and remote sensing people are using GPR. In fact, in concrete also for finding out the texture and the you know anomalies in concrete you can use GPR technique. Time domain reflectometry this we have been talking a lot time and again TDR is a good example of how fuel investigations can be conducted to obtain thermal electrical properties of geomaterials. So, we have been talking about thermal sensors this also we have discussed in detail FDR sensors. Portable dielectric probes are being used for determining dielectric properties of the soil enhance the moisture content or the degree of salinity of the soil mass. Electrical conductivity probes ECP they are also used for the same purpose for determining the level of salinity of the soil mass moisture content. Sometimes temperature also can be recorded with the help of these probes. There is a very good difference I thought I will just give you the reference here. The second international symposium and workshop on time domain reflectometry for innovative geotechnical applications whenever you get time you can go through. This is the link which contains the proceedings of TDR 2001 show the different type of applications of TDR in present day geotechnical engineering and subsurface profiling and soil survey. One example which I would like to cite over here is monitoring slope deformation and the movement. This is one of the best techniques which can be utilized or employed for establishing the slope deformation and movement and landslides in real life. This is a slope and in this slope one fiber optics cable is embedded. Now under any eventuality when the failure takes place what is going to happen to this fiber optics cable or the TDR cable this is going to deform. Now because of deformation of this cable the impedance of the cable is going to change. So, if you can measure over a period of time how impedance of the cable is changing. You can estimate whether slopes are stable or not. So, using this concept some people have installed TDR cables the Konkan belt particularly for Konkan railways. So, this also comes under the tag of early warning systems which railways has devised in the recent time with the help of IIT Bombay and some other organizations. So, you think of a situation where these type of cables are embedded in the slope at every 100 meters along the tracks. Even the smallest possible disturbance in the slope will lead to certain deformation of the cable which can easily be measured by using some electronic device or some readout unit. So, these are the early warning systems which are becoming very handy for defining or for determining the instabilities in the slopes, mines, landslides, avalanche and so on. So, good example of how field investigations can be done with the help of TDR. Among all these techniques GPR is getting lot of importance these days and TDR has already shown its potential in geotechnical applications. A bit on state of the art on the subject, this is how the subject started you can see that Coulomb's law came in 1736 and this was the development of Coulomb's law of electricity or the charges. Then came Maxwell's law which is electrical conductivity of homogeneous media followed by Fricki law which is nothing, but the extended Maxwell's equation for ellipsoidal particle shape. So, you can say that geotechnical engineering people must have adopted this technique 1924 onwards. It is not a very recent trend, but somehow the exploitation of the technique has been done very recently. So, this was the first effort by Fricki when he employed Maxwell's equation for ellipsoidal particles and you will agree that most of the geomaterials fall in this category, either they are flaky or they are platelets or they are irregular, but ultimately they can be clubbed under the category of ellipsoidal particles. Then came Fricki's law. Fricki's law will find everywhere in physics, electronics, electrical engineering. It is a famous Fricki's law. It is a very general form. If you remember diffusion analysis also we talked about Frick's law and Archie's law for diffusion. So, here the formation factor is defined as the porosity to power some coefficient. This formation factor is nothing, but the ratio of the electrical resistivity of the bulk soil divided by the electrical resistivity of the pore mass. Now, this law is a very handy tool for defining the stratification in the soil mass or anisotropy of the soil mass or inhomogeneity of the soil mass. So, it is trying to imply this law for its research work in defining the anisotropy in terms of fabric structure in the soil. That means, there should be cross anisotropy of the material in three dimension if this law is valid for electrical properties. So, this is what the basic idea of his PhD thesis is. It is a very hot subject and we have contributed quite a lot in this theme. Now, from here onwards people started picking up studying electrical properties. So, Smith and Rose they started working in kilohertz to megahertz range for determining the water content of soil mass basically. The whole idea of giving you the state of the art table is that you should realize that what type of parameters and what type of studies have been done in the past and this seems to be a very promising subject in the days to come. Agamindam who is a very pioneer researcher in this area he also studied, but he has studied soil properties like soil structure, particle orientation and electrolytic effect in the soil mass. So, these are very fundamental studies which are done by Arlondon and Smith. Then came the contribution by top. If you remember this is the equation given by top that is theta or the volumetric moisture content is directly proportional to dielectric constant or dielectric constant is directly proportional to volumetric moisture content of the material. This equation is known as Tops equation. I will show you the basic form of the equation slightly later and he studied the properties from 20 megahertz to 1 gigahertz range for a variety of soil properties that is determination of water content, soil liquefaction and determination of relative density. Arlondon used DC current for studying these properties. Now, this table gives a very clear picture of what is happening since last so many years and what is the contribution of the people. You will notice here porosity, permeability, conductivity, clay content, conductivity of the soil, electrical dispersion everything has been studied by people in different frequency ranges. So, for that matter if you start with local in 1995 started with 4 hertz. 4 hertz is nothing but a DC frequency. So, though I am writing here AC, but truly speaking because frequency term is associated with this it will be characterized as a DC current. So, gigahertz range, megahertz range and so on and the entire gamut of properties has been studied by the people. Now, if you remember the central theme of doing these studies is how to determine with precision the porosity of the porous system and that is what is basically meant by porous media characterization how best precisely you can determine the porosity of the material. So, most of the studies are related to porosity even this permeability term is linked with the porosity of the porous media. Conductivity is also linked with the porosity of the material because if you remember the previous law which talked about Archie's law it is nothing but the formation factor is a function of porosity to the power minus some parameter. So, that means, conductivity is inversely proportional to porosity and the beauty is that you can instead talk about the clay content of the material. That means, as I have been telling you sometime that the most futuristic studies would be that without conducting any classification test just by looking at the values of electrical properties if you can ascertain what is the composition of the soil that would be the ultimate in our subject and this is where actually most of the people are trying to work and contribute. Electrical dispersion in soils is a interesting phenomena later part of the lecture would be dealing with electrical dispersion in soil mass what is meant by dispersion and how to utilize the dispersion analysis results for characterization of the soil mass. So, let me remind you the electrical properties of geomaterials are basically conductivity and dielectric constant and what people have realized is that if you know conductivity and dielectric constant the materials can be characterized very easily. What is electrical conductivity? As the name suggests is a conduction of current through the porous media and the ease of conduction of the current. So, the definition is electrical conductivity is a measure of charge mobility in response to a certain electric field. In previous lecture we talked about how to determine electrical conductivity by using two apparatus or two equipment electrical resistivity box and electrical resistivity probe. So, with the help of these simple devices you can easily determine electrical conductivity. Now, what is dielectric constant? So, dielectric constant is a measure of the capacity of the material to reduce the strength of an electric energy field and to behave like an insulator. So, if you remember we were talking about in the previous lecture if you take an example of simple plate capacitor. So, if you consider a simple parallel plate capacitor now without any dielectric material this is the structure. Now, if you put a dielectric material in this say sheet of a quartz or an oil or water or even air. So, they all behave like a dielectric material. What is happening with this material now? This will be getting polarized. So, if the direction of main electric field is like this because of the dielectric material there is a effective electric field in the opposite direction which is opposing the electric field or it is nullifying the electric field which is applied onto the system. Now, these type of studies are very important for those who are studying mineralogy of place and characterization of the place based on electrical resistivity and dielectric models because plate plates are also nothing but negatively charged particles. So, when they come in contact with water which is a polar material this type of a phenomena takes place. So, dielectric constant is a measure of the capacity of a material to reduce the strength of an electric energy field and to behave like an insulator. So, this is the property of the material which shows that how good a bad conductor a material would be is it not and this is linked with the charge storage capacity. So, variation in electrical properties with alternating current frequency is that what we want to capture alright. So, when you do these type of investigations the basic idea is how properties are going to change when frequency of AC gets changed. Now, it is a sort of a fingerprint of the material which gets reflected in the form of a frequency domain and that is why this is known as spectroscopy in terms of frequency or impedance spectroscopy that means, you are trying to find out the impedance of the material for an entire range of AC current frequency. So, electrical conduction in most moist geomaterials occurs as a result of the movement of ions this is nothing but the ionic conductivity which normally we consider in our studies and basically these materials are dielectric materials which are characterized by polarization. I showed you how polarization gets induced if you place a material in an electric field there will be a reverse polarization which is acting on the material itself. So, all these materials geomaterials they are dielectric in nature because they are not good conductor of current they get polarized easily and hence if you can study their polarization properties or susceptibility to get polarized all right then you can characterize them very easily. A good example of this would be soils which are dry soils which are wet soils which are partially saturated soils which have humus or organic materials in them or soils which are having more iron in them. So, their responses will be totally different soils which are fine grained soils which are coarse grained soils which are combination of the two and so on. So, all it leads to is that overall characterization can be achieved just by studying the dielectric response of the material and its conductivity, but there is a problem. The problem is these materials they behave neither as a conductive material nor as a perfectly dielectric material and hence they can be modeled as a lossy dielectric material. What is the meaning of the word lossy dielectric material which if you can add can take microphone and that too with respect to time. So, that is what I am not sure whether you have studied or not relaxation factors relaxation factor would be how much charge is stored after certain time. So, the charge is also a function of time. So, c becomes a function of t or c t. So, with this concept a frequency dependent complex permittivity k is used to capture both amplitude and phase information of this phenomena. So, if you remember this parallel plate capacitor model what is the charge carrying capacity of a parallel plate capacitor this is k multiplied by a into epsilon naught divided by d. So, from here you can get easily the value of k. So, k which is complex permittivity would be a function of geometrical properties of the capacitor d is the distance between the plates a is the area cross section of the plates c is the total charge which is accumulated in the system and epsilon naught is the permittivity of free space. So, this is how you can compute k value directly. Now, what is the meaning of dielectric constant k. So, k is defined as epsilon upon epsilon naught. This we studied in the previous lecture where epsilon is the material permittivity and epsilon naught is the permittivity of free space which is given as 8.8 and power minus 12 parrots per meter. So, if you know the k value multiplied by epsilon naught it will give you material permittivity or vice versa if you know material permittivity you know epsilon naught value you can get the value of k. So, k happens to be a very peculiar parameter for a given soil water contaminant system. This is part clear and it is very susceptible to any change which may take place in this system. So, that is the reason why people are studying dielectric constant or conductivity for characterization of geomaterials. Now, I use the word complex permittivity in the previous slide. So, complex permittivity k is defined as case prime minus j k double prime. Now, j k double prime is nothing but imaginary part of k. You must have done in your complex algebra all these things is not and k prime is the real part of the k which depends upon the how easily a system can get polarized. So, this is what is known as polarizability of the material k double prime is the losses in charge due to the conduction and polarization effect. So, it is also important to measure k prime and k double prime parts of the material for its complete characterization. Without getting bothered too much I think you must have realized one thing that these parameters or these factors are going to be having a specific value for a phase of a material clear. So, why the section of these parameters is important. So, that when we talk about multi phase system and if we know these material properties we can easily find out what is the contribution of each phase into a system. It is not so difficult the way it looks here. There are devices from which you can directly measure the k prime and k double prime values or you can compute them by using simple equations which are normally used in electrical engineering this is ok. So, what are the basics of ohmic conduction in geomaterials conduction of current is due to ionic I am sorry this is not in this is is conduction of current is due to ionic movement and the equation which is normally used this i equal to sigma into v where sigma is the resistivity. The simple term would be v equal to i into r. So, 1 upon r is sigma or 1 upon sigma equal to r. So, factors affecting electrical conduction in coarse grain soils would be void ratio, degree of saturation, grain size and shape and orientation alright. The pore structure, the nature of the pore fluid and its conductivity. So, what are the significance of this? When you are studying ohmic conduction in coarse grain materials the ohmic conduction is going to be a function of all these parameters. So, when you are doing your sieve size analysis to determine what is the fraction of sands or silts or the gravels which is present in the material and the grain size is contributing to the void ratio. So, if you know the void ratio you can indirectly find out what type of grains are present in the system. If you remember your cubic or rhombic arrangements has a peculiar E max E min clear you agree. So, on a scale of maximum and minimum E max and E min or in other terms porosity maximum and porosity minimum you can scale the properties of the coarse grain soils by measuring its electrical properties it is ok. Similarly, when you are talking about degree of saturation. So, saturation less than 80 percent are considered to be dry soils partially saturated soils. So, their properties are going to be totally different than the soils which are going to exhibit saturation more than 80 percent or 100 percent grain size shape and orientation is a very challenging work. So, it is trying to do it in its pieces and it is trying to link this with the pore structure analysis. I have shown you some SCM micrographs long time back if you remember where we have talked about flocculated structure dispersed structure combination of the structures of the grains. So, this is one way of capturing the response of the or the structure of the grains another way of capturing the response would be if you allow a current of certain frequency and magnitude to pass through and collect its fingerprint and see what has happened to the current which was being input when it comes out of the material. So, any sort of attenuation attenuation means reduction in the properties of the input waves can be mapped with the response of the porous media. That means, if you input some current and whatever output is coming out if you compare the two you can always make sure what is the contribution of the porous media in changing the properties of the input current. So, these type of concepts can be utilized when we talk about grain size shape orientation and the pore structure of the soil mass and of course, the nature of the pore fluid and its conductivity. So, pore fluid could be water it could be air it could be partially saturated soil. So, there you have water air present both some vapours may be present hydrocarbons can be present combination of all this and so on. However, there is no conduction through the grains in case of coarse grain materials why it is so because these grains are not charged. So, this concept can be utilized while looking at the impedance response of a material at the end of the lecture I will be showing you the basic models which are used for developing AC flow in the soil mass and that is where all these concepts will be very handy and you can literally see whatever conduction is taking place in a certain material. However, when you talk about the electrical conduction in fine grain soils it is a very complex phenomena why it is so complex it is because of the charge it is because of the double layer it is because of the diffuse layer it is because of the you know clots formation and clots are nothing, but what type of pores they will be giving you what type of voids they will be giving you micro or macro they will be giving you macro pores. That means, if they are not the micro pores which you are going to talk about it will be a combination of micro pores and macro pores. Do you remember your Pogadan macro and macro your Pogadan see these are the two clots and these are the platelets. So, when you come when you consider the pores which are present between the two platelets these are going to be intra, intra voids intra pores agreed or intra voids. Now, this is one unit which is in association with another unit. So, whatever void space you have in between this is going to be inter void or inter pores or macro pores. So, these are macro pores and these are micro pores alright we have not talked about meso pores yes I hope you will remember all these things after 2 years also ok. So, you can understand that using these type of models you can study whether the pores are dominated by micro pores or macro pores they are inter pores or intra pores, intra voids or intra voids and so on. So, when you study by the each one of these units is known as a clod CLOD clod a simple example is you take some water a sprinkle it on a dried clay what did you notice lumps exactly. So, these lumps are nothing but clods. So, the biggest problem of working with clays is you cannot even compact it properly why because of clod formation alright. So, look at it like this that each individual particle is having charge number of particles get associated to form a clod each clod will be having some electro dynamic effect on another clod and hence compaction cannot be achieved alright. So, this is when you go too much into the microstructure of the clays then as a third eye I repeat the word third eye you require electrical properties which can guide you in the best possible manner to understand what type of mechanism is taking place in clays. So, this is a big advent you know in the history of civilization where electrical engineering concepts are being put into cell engineering concepts to understand what is going on in the clays at the micro level. Now, most of you have been doing the swelling index test, but to understand the swelling phenomena and swelling mechanism and shrinkage mechanism is there any tool to measure the properties of the micro level you always talk about the macro level deformations, but what is causing these micro level deformations is the micro mechanism and that is where these type of studies are becoming very very important alright. So, classical geomechanics in places that the clays cannot be compacted and hence you should use a sheep foot roller, but that is not the correct way of defining the things why clays cannot be compacted, what type of viscous force are going to act, what type of double layers are going to act, what type of diffuse layers are going to act, what type of mechanisms are going to take place if you want to study all those things and why these studies are becoming very important because we are migrating now slowly and slowly from saturated or classical geomechanics to unsaturated classical geomechanics alright. So, this is where the transformation has to be in the subject thinking understanding and realization of the mechanisms which are taking place in a soil system. So, with all this in view I wrote this line here that electrical conduction in fine grained soils is a very very complex phenomena and mainly it is due to the double layer formation around the grains. What is the double layer? In your childhood you must be doing an experiment you take one grape dry grape put it in a water glass of water what happens next day morning its soils the same thing is happening to clay particles or grains, redlets. So, the moment you put them in water what happens there is a double layer formation all along the clay particle. Now, the entire dynamics is different clay particle itself is not contributing to anything it is shielded or it is bonded by a water which is all around its surface and that is the reason you cannot compress is too much. You think of two capsules you know because after hydration what has happened to the clay? It has become a sort of a soil and capsule you cannot compress the capsules too much. The only possibility is they should burst, but then the viscosity of water is so much electromagnetic charges are so much that bursting is not so easy. So, this all concepts will lead to understanding and revisiting consolidation theory of place and that is the reason I showed you in the first lecture people are trying to put electrodes along with odometer test to derive void ratio versus sigma prime response as well as conductivity versus sigma prime response dielectric constant versus sigma prime response. So, it is very interesting see this is a typical response of E versus log sigma all right. So, as sigma prime increases void ratio decreases. Now, suppose if I ask you to plot conductivity versus log of sigma prime what is your good feeling? Now, during consolidation what is happening? There is a decrease the sample is getting more dense clear. So, what about conductivity? So, this is one school of thought. The second school of thought says exactly the pore solution is coming out of the grains and if the pore solution is coming out of the grains what should happen to the conductivity? So, some of you may believe in this is cooler thought and some of you may believe in this is cooler thought. So, this is where the greatest confusion is you agree this is not so easy this is cooler thought says contact between the grains without talking about electrolytic properties of the soil mass which is not correct. So, if you are dealing with coarse grain materials even then this may not be possible, but if you are dealing with fine-grained materials even then this may not be possible. So, this is where what you have to do is I will give you this answer later on the which one is correct. So, the second graph should be the electric constant versus sigma prime. What I am trying to show you here is if you do not understand at micro level what is happening it becomes very difficult to capture the response of the material this part clear because when you say consolidation the pore fluid is coming out and when the pore fluid is coming out the conduction is going to get affected alright. So, let us keep this question open for the time being and by the time we wind up this chapter again we will revisit this issue. So, these are the issues associated with electrical conduction in fine-grained materials what is electrical impedance when you talk about simple resistivity it always connotes to DC measurements. So, V equal to I into R where V is the voltage I is the current R is the resistance or I equal to sigma times voltage where sigma is the conductivity sorry sigma is the conductivity sorry sigma is the conductivity. So, when you use the term resistivity it always corresponds to DC measurements when you talk about impedance is nothing, but the resistance due to AC. So, that means, a frequency term gets associated with the resistance this is part clear. So, impedance captures both frequency and amplitude information just to clear your basics this is a sine wave this is T axis this could be some function. Now, this function could be voltage this function could be current. So, if this is the amplitude if I say V naught or I naught. So, your V is nothing, but V naught sine of omega t plus theta similarly current will be I naught sine of omega t plus theta. Now, depending upon whether current is lagging or voltage is leading this theta may become 0 or it may become 90 degree alright. So, basically this type of functions when you are using here omega is nothing, but the frequency of AC. So, in DC measurements this omega term is 0. So, what happens? We only talk about V and I and we say V upon I equal to R when we talk about AC then frequency term comes into the picture and in that case your impedance terms become important. So, that means, what will happen this R which was a DC term if you write it as a function of time it will be Z where Z is impedance. So, Z will be V t upon I t this is V cos of omega t divided by I cos of omega t plus minus delta depending upon whether it is lagging or lagging behind leading behind. So, this term can be written as R minus J X where R is a resistance which is a real part of impedance it is defined as Z prime and X is the imaginary part of Z which is defined as Z double prime. So, the first when we are dealing with the dry geomaterials these models seems to be ok or you have some suggestions. So, when you talk about CC type. So, it is partly through the soil grains and partly through the air which is present in the soils or the voids which is the least likely part due to its very high resistance unless the air is contaminated with fumes or water or chemicals. So, when you talk about characterization of geomaterials and if you want to study the interaction problems alright. Then this becomes a very interesting tool that means, you can talk about the H to H contact when you talk about even the contact of the fluid phase with the grains and what is contributing most to the conductance of the current. So, you will look into the second phase when you talk about the partially saturated system. So, this is a slightly complicated system where you have again the electrodes which are connected on both the sides. The soil mass is sandwiched in between the soil grains have been depicted with the dotted lines and dense dotted lines are water filled with voids and then you have certain amount of air which is present in the soil mass. Now, can you tell me what type of conduction mechanisms are possible here that is right. Or what are all basically pore solution? So, one more mechanism gets added here. Now, you think of a situation where pore solution is highly conducting what is going to happen? There will be a short circuiting of the grains and the boundaries and the edges and the voids and what will happen? All the current will pass through the pore solution which is highly conducting alright. So, this gives you another extreme where the resistivity of the pore solution becomes so important that the grain structure you know subsides and the pore solution properties become very important. You must have studied superimposition principle structures and may be in simple mechanics. Now, this leads to a very interesting thought that if I saturate the porous media with a solution of known solution conductivity clear. And if I measure the conductivity of the material and electric constant and if I remove this pore solution by some method and again if I measure the properties the difference in the two sets of the properties is nothing, but there will be a good indication of what type of interaction has taken place between the porous media and the contaminants alright. So, if you look at the mechanisms here there are four possible mechanisms. The first mechanism is AA you have contact between voids filled with water and the grains. So, AA is the interconnected pore filled with pore solution which offers least resistance to the flow of current. What about the B? It is again grain to grain contact. What about C? Now, C is partial between through the connected soil grains and through the interconnected pores. And what about the fourth one? D D prime where the D D prime shows the conduction is through the grain, conduction is through the water, conduction is through the grain boundaries and so on. So, it is partly through the soil grains, partly through the voids which contain air and pore solution alright. So, these type of mechanisms are possible when you talk about flow of AC in geomaterials. Homogeneity has not been studied here yet, but in what way homogeneity is going to bother you that is right. So, basically this is a lumped model which talks about the minerals or the grains and the voids. So, you are right your input is very correct that if you talk about the inhomogeneity here you know then you are creating a multi phase mineralogical system of the soil. So, this I intend to cover in tomorrow's lecture. Then we will be talking about multi phase minerals and how do they contribute to the dielectric constant of the soil mass. Now, a quick answer to your suggestion would be it is very difficult to differentiate between the conductivity of different minerals, but will be very easy to differentiate between dielectric constant of different minerals. So, nobody talks about a mixed phase conductivity model people talk about mixed phase dielectric constant model. So, this I intend to cover in tomorrow's lecture alright and this is what people are using in CSRE and remote sensing to identify what type of contamination of the soil has occurred either it is because of oil or because of gas or because of water or because of erosion and so on. Because of mineralogy is becoming a very important parameter whenever the interaction takes place no no no these are philosophies these are philosophies it could be either one it could be number two it could be number three it could be number four or it could be a combination of all these are philosophies dry phase also I mean this is how you would speculate that conduction may take place either it could be through a or it could be through b or it could be through c and these are the three logics which come to the mind and then immediately you can capture that the conduction of current is taking place through grain boundaries also.