It's time for the Lawn Jean Chronoscope, a television journal of the important issues of the hour brought to you every Monday, Wednesday, and Friday, a presentation of the Lawn Jean Wittner Watch Company, maker of Lawn Jean, the world's most honored watch, and Wittner, distinguished companion to the world-honored Lawn Jean. Good evening. This is Frank Knight. Glad to say hello again after our summer vacation. Now may I introduce our co-editors for this edition of the Lawn Jean Chronoscope. Edward P. Morgan and Larry LeCœur, both from the CBS television news staff. Our distinguished guest for this evening is Sir Gladwin Jebb, permanent representative of the United Kingdom's delegation to the United Nations. It's a glad one. We're glad to welcome you back to Chronoscope, particularly at a time when the United Nations General Assembly is moving into the area of decisions on Korea. It's, of course, no news to you, sir, that nevertheless many Americans have become what we might call disenchanted with the whole Korean business and at the outset of this special assembly session are greeted with headlines of differences among the houses of cousins between us, the British, and the Americans. Can you straighten us out a little bit on that, sir, before we get into the main discussion? Well, all this question difference is, it may be legitimate to discuss them, but I like to say just as the outset that we've got to agree after what is the position.  But we, we are a great power and we are, furthermore, I would remind you of the center of a commonwealth which comprises well over, I think, a quarter of the population of the globe. And therefore if we agree, we're safe. The whole free world, in my view, is safe. And for that reason, we must agree. There's no alternative. We've got to agree. But again, if we are to agree, it's no good just calling ourselves each other's names. It's no good you're just announcing us as appeasers. It's no good our just announcing you as imperialists or whatever is said by some people in Great Britain that doesn't help at all. The thing is that we are, or we certainly ought to be, partners. What does that mean? That means that as democracies, both of us, we have, and we're bound to express the majority opinion in our countries, and quite right too. And why shouldn't we? And if we do have, express the majority opinion in our governments, it's no point in thinking that it's the end of the world or anything terrible happening. We've got to get agreement as a result of the expression, this expression of opinion. And therefore, sometimes, obviously, one government has got to defer to the views of the other government. Otherwise, there is no partnership. Now, in the Far East, of course, we wouldn't dispute that you, after your enormous sacrifices in Korea, have got, shall we say, a major interest in the Far East. But nevertheless, I suggest that we, who've also made sacrifices in view of our other commitments, quite considerable, we have a right to express our point of view. And we don't see why our opinion should not at least be heard. Well, so glad one to get down to specific questions. The United States strongly opposes the participation of India, a British Commonwealth nation, in this Korean political conference that follows the armistice sometime next fall, or this fall. Now, could you, would you care to state what the United Kingdom's position is on the participation of India in this political conference on Korea? Yes, I would. But that, of course, means that we must explain in two words what our general position is. And we think that, in the first place, the United Nations has scored a great victory in repelling aggression and pushing back the aggressor way it came from. And it hadn't been for that, which is largely your initial decision. Where should we be now, in a terrible situation with the Third World War threatening? Let me be undiplomatic and interrupted diplomats are glad. When that brings up a point right there that it seems to me is quite important to Americans. And that is that we have been taught in school and just in our general life that when you go into a game or into a war, you're supposed to win it. A lot of people think that there has been no victory in Korea, that we haven't won it. Well, I don't agree. And that seems to be bothering. I don't agree. I think we have won it. And so far as the game has been played, we won. We've repelled aggression. But what is our having repelled aggression? What are our objectives now? I think that our objectives, yours and ours, our objectives are the same. And I'm sure that's been said on both sides of what is the objective? The objective is the unification by peaceful means of Korea. And that is our objective. Well, if you rule out war, of course, we're not going to go on with this war having one of what we set out to do. What is the procedure? If you're going to unify Korea by peaceful means or going to do it by peaceful means, and what does peaceful means mean? It means by talking, by negotiation. What else can it mean? If you're going to have a negotiation, you must do it in the best possible way. That is to say, you must get into the negotiation. Anybody who can affect one way or another, but affect definitely the situation in Korea and have an effect on the peaceful unification of Korea. And that is why we support the Indians and indeed the Russians. I'm glad when it's also a question who does the negotiation, I suppose. The United States, for example, is strongly opposed to the invitation to Soviet Russia to participate in this political conference on Korea as a member of the United Nations side. How do you feel about that? Well, we don't. We think under the strict interpretation of Article 60, it's true, there are two sides that are those who fought on both sides, on one side, the Koreans and the North Koreans and the Communist Chinese and the other, the 16 nations. And the strict interpretation, you might say those are the two sides. That may be so. We wouldn't dispute that. But if you want to have a successful negotiation for the peaceful unification of Korea, then out of you, you have to get in some other people too. And we think the General Assembly has a perfect right to recommend and to recommend, because if it recommends, it must be accepted by you and by the Chinese, but at least it can recommend that other states who have a great interest in Korea should be there to express their point of view. That's what we think. Well, you don't think that Russia should be exposed as, apart from her fictitious role as a neutral in Korea, bearing no responsibility, and to actually sit on the aggressor side of this political conference? I didn't say she was a neutral in Korea. I think she hasn't been altogether neutral. I think that's another point. But I think that her presence is necessary, if you want to get a solution by peaceful means, that's all I said. Sir Gladwin, would you say, sir, that one of the things that might be bothering Americans at this point particularly is that they're afraid that what might be called a round table negotiation would be one of appeasement and that out of discussion they might lose something? No, I don't think so at all. What is appeasement? Appeasement, I suppose, is doing something dishonorable in order to secure a solution, something that you wouldn't agree to on moral or other grounds. That would be appeasement. But if you enter into negotiation, you're not compelled to accept anything dishonorable, and you and we are neither nades nor fools, neither of us will agree to anything dishonorable. I'm quite certain of that, but there's no reason why we shouldn't enter into a negotiation. That's quite another thing. Negotiation is not appeasement. Well, when you get projecting beyond this immediate United Nations assembly meeting and into the political conference, that as Larry said, comes sometime this fall, what are the mechanics, sir, as you see it? Is there going to be an agreement, a majority agreement, on a peace document, or will it be a matter of an axis between Britain and the United States and the Western Allies on one side and China and Russia on the other? Well, if we ever get into negotiation, I hope we shall. It isn't a question of anybody imposing their will. In the resolution, which we shall shortly discuss in the United Nations, it's laid down that there shouldn't be any question of the majority of you prevailing, and how can a majority of you prevail? If a solution is not acceptable to you or, indeed, to the other side, it can't be imposed, and therefore it's laid down that every country participating in the negotiations shall not be bound, except by any decision, except by joint consent, and that applies to you. Does one have to make the dubious inference from that, sir, that there is a great possibility that there won't be any agreement, and we'll just rock along with a divided Korea as we have with a divided Germany? Yes, it's quite possible, but there's no reason why we shouldn't try for a better solution. Who knows what may happen if we try? Well, so glad when you think that the Korean Peace Conference to take place this fall should be strictly limited to the question of the unification of Korea or should go into other questions of the Far East. Well, I think certainly it should start off with the question of Korea. That's what's laid down in the Armistice Agreement, and that's perfectly right and proper. Now, if there is any progress on that, and if, I think it's a big if, but still it's possible, if there should be any disposition to discuss other questions in the Far East, well, that could be done either in the context of this particular negotiation or in some other, but it's possible. I wouldn't extrude that, but I think certainly they ought to concentrate on Korea first and try and get agreement on Korea first. I quite agree with that. And then if they find any agreement out of the questions you think possibly, go into them. Well, why not? Well, so glad I'd like to ask you a question about Red China. Her Majesty's government recognizes Red China, and is my understanding that your government would also like to see Red China admitted into the United Nations? Well, we recognize Red China because we think Red China is the government of China, and in the communist government in Peking, we think it is the government of China. And unfortunately, or fortunately, personally, I don't go into the model question at all itself. We never have. We think that it is actually people who are governing China. Now, that's all we say. Nothing else. So, glad I may ask you a question. If Red China were admitted to the United Nations, do you then think that they would then recognize Britain? I really don't know. Whether it was a change in Chinese representation in the United Nations would depend on a vote in the United Nations. Whether that will happen, I don't know. It will depend, perhaps, on some extent on how the Chinese behave in these negotiations and other things. That brings us quickly, Sir Gladwin, to a final question. Most of our experts agree that the overriding communist strategy is one to try to divide the allies. What's the British reading on that effort as of now? Well, I think that the Soviet strategy is undoubtedly to divide the allies and to try and make NATO a failure and divide us from you. That's their principal objective. But whether they are present in this conference or not is another question. It's quite arguable. I only say it's quite arguable if they were not present in this negotiation. They would divide you and us far more successfully than they were. Thank you very much, Sir Gladwin, for being with us on Chronoscope. The opinions that you've heard our speakers express tonight have been entirely their own. The editorial board for this edition of the Long Gene Chronoscope was Edward P. Morgan and Larry LaSere, both of the CBS-TV News staff. Our distinguished guest was Sir Gladwin Jeb, permanent representative of the United Kingdom's delegation to the United Nations. Now, if you're contemplating the purchase of a very fine watch, it would be profitable to compare the facts about Long Gene watches with the facts you have about any other watch. Now, you'll find that the facts about Long Gene are convincing proof of surpassing quality. 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We invite you to join us every Monday, Wednesday, and Friday evening at this same time for the Long Gene Chronoscope, a television journal of the important issues of the hour. Broadcast on behalf of Long Gene, the world's most honored watch, and Witner, a distinguished companion watch to the world-honored Long Gene. This is Frank Knight reminding you that Long Gene and Witner watches are sold and serviced from coast to coast by more than 4,000 leading jewelers who proudly display this emblem, agency for Long Gene Witner watches.


Hi everybody it's Sam at Mixed Up Craft. Thank you for watching my tutorial today. I'm going to be showing you how to make these little kind of match boxes. I have done something similar for a chocolate bar size and I'll link that one up here because that's really nice and it has a it was for Father's Day actually but this one here is a smaller version and you pull this out and then the spider pops up. It's on a piece of acetate there it's really really fun and then inside here you've got room to pop some treats which I will do and these are just a few more extras just to go in the trick-or-treat kind of bowl ready for when the trick-or-treaters come to the door. So I've done four here I'm going to do the fifth one again you can see another one there I've just done the spider on all of them and again it's got that nice spring and it's just a little bit of fun and yeah something easy to make and you can do this obviously for any occasion as you can see on that one there if you pop and have a look that's for Father's Day you can do this for Christmas you can have all sorts for them that's just the idea there for you to then be able to change. So I'm using the few bits left really from the sassy crafting I have done my planner in my diary so I may add that in next week just as a kind of short little video but I've done the mini album as well using this paper I've got some of the free little trimcraft downloads there as well but it's this here so this is the sticker pad which I've used in my planner I've used the spider I really do like that I hate spiders by the way but I really do like this spider dye I just think it's got a really good look about it look oh it looks quite real and I look at my monitor and actually what I'm going to quickly do is just add in a photograph now and that was the excess in my bin and I forgot it was there and I walked into my craft room and looked down and I did jump a little bit because I thought oh my god and then I quickly remembered that that was me that done that and actually it's just paper but it looked so real and I showed my mommy she was like oh my god I went no it's only paper so yeah I think it's a great one for Halloween so that's everything we need there all of this will be linked below because to make one of the boxes you need for the actual tray the piece that we pull out you want a piece that's five and a quarter by six and then for the case that wraps around you want a piece that's six and a half by three and one eighth of an inch then I've got my topper there so that one's already done and then I've got this acetate here um so just a strong piece of acetate will do it's just a piece of scrap so first of all with this one here okay so with this piece you're going to score on all four sides at three quarters of an inch and one and a half inches so rotate three quarters of an inch and one and a half again okay so that's what you're going to do there because it's a reinforced tray so that's what you should have now for this piece here because it needs to wrap around what you want to do is pop it in here along the long side and pull it out slightly okay so if I just bring this up so I always do this if you've got a piece of cardstock you can fold some cardstock in half put it up against there and then put the cardstock in that's another way to do it but there it is right up in the corner and then I'm just pulling it out a little bit there so I can see the gray scoreboard don't pull it right up to the one eighth of an inch notch you want it just I've got that little bit there it's like halfway okay so just put it out slightly and then score at two and three eighths of an inch and five and a half okay and then push it back in again and score at three and one eighths of an inch and six and a quarter okay and just by doing that we've just given it that tiny one sixteenth of an inch extra so that it can wrap around this tray here that's that bit done I've also got a piece of ribbon here for the little pull tab and this is two and a half inches so I'll probably end up trimming a little bit more of that way as well so the case is very very straightforward so you just want to fold and burnish those score lines okay and then with this one here again just fold and burnish all of those score lines okay and we're going to put this together just as you would any other reinforced so you know like we would do reinforced lid it'd be exactly the same so you want to cut I'm just cutting along the short side here and you're going to cut up both of these score lines okay to the second score line so you've got four squares you can see there there's the four squares I'm just cutting past them all to this second score line here the outer two you just want to remove completely and then that top square just remove that so you're left with that one there and then just tidy up all of the edges so that one that one and that one there okay I'm going to do the same again just show you again so cut down that one and that one remove the outer two and that top one and again just tidy up the edges okay just lie it down there that's what you should have at one end and then you're just going to flip it right the way around now so you've got the other short side and just do the same okay so that's everything cut now on this little tab here I've just popped some glue you're going to fold it under and bring up that side and we're going to do this on all four corners I'm just going to give that a second to grab and then you're going to go to the next one and again just pop a little layer of glue pop it under and around again to form a really nice right angle just repeat that on the other end here okay and then I've just started to put glue on all four but you actually only want to put glue on three leave one of the shorter sides without so I'm just going to let that dry it won't be a problem but you want to fold the rest of them in that end one there we need to punch a hole through first before we stick it down and then we can thread the ribbon through so I'm just going to go around there stick those down and then you'll just get a really nice little tray but leave one of them up like that so I'm just going to let that glue completely dry you can rub the collow off as well so it's um yeah like I said it's a great glue I really love this stuff okay while I've got that drying I'm just going to stick this one down so along that little tab there just add some glue or some double-sided tapes entirely up to you and then if you just fold that side over and then fold that half over it will all line up perfectly and again just let that stick okay and then just burnish all of the sides just to make sure it all sits how it should and then I know I've still got that end up there but you should be able to slide it in the other end and it should slide on really nicely it'll be nice snug fit there on the end okay so now with this one because that's nice and dry I'm going to just grab my hole punch and you want to fold that in and you want a hole punch in the middle of this side piece so you can see where I've put my little hole punch there and then just punch through there's a little bit tacky there we go okay so now I've got that hole going right the way through next what I'm going to do is okay I don't know what I was thinking but I've just hole punched through both of them and you don't want to do that really because it makes there's no otherwise it's pointless doing it you want to open it up and you just want a hole punch through that side so that this solid piece can then cover your ribbon ends so you can see there I've punched through both but with your screw punch there you can go in and you can just hole punch right in the center there really easily so you only want a hole punch on that one there it's not going to make any difference to this tray that I've gone through both but it's it does defeat the object because the whole point is now is that this will thread through so just fold it in half so you've made a little pull tab but the idea is then that we can split this apart inside like so and then this piece without the hole would then go over and hide it all but now you see mine's going to poke out so I'm going to have to just cut another bit of card stock to go on that I don't know why on earth I've done that because I've been using this for all of them but then I have been using that for another project so I think I've just completely lost my mind so I'm just going to get my hot glue on because it did work really well with this okay so I'm just going to pop a little bit there and a little bit on the back just push that down that side push that down in case you can see my ribbon split apart there and then like I said you won't have a hole in that piece so now you'll just add your glue to this side here and then stick that in now you can see we've got a nice little pull tab and then inside yours will be obviously your card stock and it won't have that hole but you can see how it's just a nice way to conceal that ribbon that's if you choose to do that you might just pop a brad on the end it's entirely up to you and then you just pop it in its tray then you just need to add your spider or whatever it is that you're going to have pop up so what you want to do is this acetate here is half an inch by well the length let me just pop it in because I end up cutting it down but basically you want to score at half an inch it will be no more than four inches long okay so actually I'm just going to trim that now because yeah so I've got a four at the moment and then on that half inch score line you just want to fold it under okay and then we're just going to add some red tape to that little tab okay so just taking the backing off and then you're going to pop it in here with the so it's folded can you see if I pop that against there we go so I've got it like that and it's sticky underneath here so you're going to pop this flat side here against where the the ribbon kind of is but you want it to be right in the middle so you can see there where I've stuck that in okay that's what you want just make sure that's all stuck down and then yeah it's still too long so the spider or whatever it is you want to pop it on the acetate but you want to push it down before you stick it down and make sure it's going to fit within your little tray so you can see there where that's going to go now I've already popped some tape on the back of my spider okay so again I can kind of just hover it over I can see where he needs to be so about there okay and then I'm just going to go in now and cut underneath and get rid of that acetate so it now probably ends up being let me but this is if you're using the same thing as me so like I said everybody's is going to be different but it will be two and three quarters my pieces that's taken into account that that piece there as well but now that will go in and you know you can test it obviously pop it in there because it reminds me of those bugs do you remember the wobbly bugs I think you can still get them that were in the shells and you'd lift the shell up and then the bug would be wobbling inside but now it's got a really good little spring to it then I've got this piece here which is just slightly smaller than the tray size so it's just under three and just under two and a quarter so just check that was right yes it literally is like that one sixteenth because I wanted it to cover the bottom complete so and it's just under two and a quarter so I'm just going to add the loot to the back of that piece and then that's just going to go in there again ready for the treats pop that all on there popping back in there and then I've got this piece here I'll give you the dimensions in a second make sure that's all stuck down so the white piece here is two and one eighth by just under three two and seven eighths would be fine and then the black piece is one and seven eighths of an inch by two and five eighths of an inch okay and then just pop that in there and there you have your little treat boxes so there they are I really like them I think this is my favorite I do I just really like the red lips there and the fangs and the bit of blood coming down and then you open it up oh you've got a bit of a fright with the spider there and then the same papers inside so I'm going to like I said pop some nice little treats in there and yeah add them to the the basket of the other goodies that I've shared with you so if you're new to the channel and you haven't seen any of the other little kind of I guess trick-or-treat or Halloween favors or favors for any occasion all you've got to do is change your paper but that playlist will be up there so you can check that out but yeah I hope it's inspired you I hope you give it a go and I'll be back again soon with another tutorial thanks for watching bye


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Here we go. It's Monday. I feel like I need more coffee. Just like always. How are you guys today? I hope you all had a great Thanksgiving. If you celebrate Thanksgiving, we're here to do some little paintings again for Monday with DecoArt. I'm gonna have trouble getting rid of these. I know. See, I need more coffee. So these are the four that we've done already and this week because on Wednesday, hello, Cindy. How are you? Because on Wednesday, we're doing the Bird of Paradise painting for Watercolor Wednesday. I thought today that we would do one or two more of the little canvases and we would do them tropical themed. I'm not too jazzed this morning about painting a bird of paradise. I'm just not in into the zone. If you all know what I mean, but I think I'm going to try it anyway. Be prepared for disaster because when I'm trying to paint something, I'm not really feeling it. It usually doesn't turn out well, but you all know, I don't hide my mistakes from you. It's part of the creative process. We all make them. So, you know, I'm pretty out there with that. I do think we'll do. We'll try for a bird of paradise one and maybe a little seascape on the other one. So put these aside. I got two more of the mini canvases. These are 499 for two at Hobby Lobby. I'm sure you could probably get them cheaper somewhere else. I really can only go shopping at Hobby Lobby right now because they don't have tons of scented pine cones. Yeah, you just go with it and it's all good. Exactly. I do have a bunch of changes coming up for the new year. One of which has to do with these live broadcasts that I'm still flushing out the details for, but we'll discuss it this morning while we're on here. And those of you that watch Watercolor Wednesdays can let me know what you think. Hey, Cindy.   If I don't, one of my people watching will. So just don't even go there. Will you? All right. So let's try for the bird of paradise first, I guess. Hi, you guys. I'm not really excited. Hey, Lisa. I'm going to just grab some greens and yellow. I know over the holiday weekend, too, I was doing some filmings, but without sound because there's lots of people in the house. I have to do voiceovers today. But in between, I was just sort of watching lots of YouTube catching up. Okay, so first we're going to, I think, paint the background and I'm just going to be pretty random about it. I have a little dish with these little paint. Anybody else say these little paint things? I don't know what I'm going to do with them exactly, but I'll do something. So I'm going to put on some yellows and some greens. I may throw some white on here. I want to keep it kind of light because I don't want the background to be the star. I want the flowers to be the star. So I think for the new year, what I'm going to be doing is I'm developing some new paid for classes. One of them is a watercolor class. They're going to be called Working With and they'll be working with different mediums like watercolor. Oh, I will. Okay. Like watercolor, acrylic painting. I might do one on collage. And I think that what I'm going to do as part of the class and I'll talk about this while I'm zooming you in is I'm still going to broadcast live. There we go. I'm still going to broadcast live here on Periscope, but then I think that I'm going to take the recordings and instead of putting them on YouTube, I'm going to be having them downloadable on a website like Udemy. And I think as part of the new watercolor class that I am doing, I'm going to take some of the episodes we've already filmed with the associated PDF files and put them into the new class I'm working on where appropriate. There'll be at least three of them that I can think of that would fit in there. That means they won't be on YouTube. So if you don't catch me live, you'll have to go over to Udemy or to Craziano University and catch them there. Or I can leave them on YouTube and have them available for download. I don't know if anybody would buy them though if they're available on YouTube and I guess that's the dilemma. I wanted to run by you all this morning. So now I'm just going to take now you notice all these colors I have some white, yellows, blues and greens. These colors all mix well together. They're going to make varying shades of green and I'm not going to get any brown. So don't put any red in here because you're going to just get mud and I do have some neons in here because that bright pop of neon is not a bad thing. Don't forget your edges. Did you all eat tons of turkey? So I'm just I'm not you know I'm not being smooth about it. I'm not mixing my colors completely. Ham. I love ham. I actually like ham better than turkey. That's probably un-American or something. Hello. So the Monday with DecoArt videos will always be free. They will always air to YouTube because it's part of the helping artists program with DecoArt. But I'm thinking about doing something different with the Watercolor Wednesday videos for those of you who watch Watercolor Wednesdays. And I'm shooting for December 15th, but I have this feeling that I won't be able to get it done until January 1st. So I think that for 2015, we're going to keep going the way we've been going for now. And then starting January 1. We'll be looking for the Watercolor Wednesday recordings to be something that is paid for. Alright, so that I like that. Let's let that dry just a little bit. I'm going to push it to the side. I have this other one. There's a delayed reaction on that. There we go. Alright, so I'm going to take while that one dries. That's the one the first. Yes, I do. I actually cover composition books and journals with my drop paper. This is packing paper from, you know, the office supply store. You can get it at Staples. You could if you have like a beacons or a moving supply company near you, you can get big packs of this stuff. It's really cheap. Okay. So which what is a good idea? Too little. I don't know what's a good idea.  I'll not all of them are good. Okay, so on this one we're going to do a little seascape. So this is a little different. Oh, yeah, yeah, yeah. And you know, I when I'm working on something and I have little bits and pieces of, you know, scraps of collage paper or whatever. I just glue them down to my drop paper. So by the time I'm doing something with it onto a composition book, it's super interesting. So I've got some of the same aquamarine color. I'm going to put some white on here and because this is the sky and I don't want it to turquoisey because we're going to do the sky first. I'm going to put some phthalo blue. This might be too much paint, but that's fine. Yeah, it works for a background. Okay, so I'm going to take this is just a plain flat paintbrush, right? The only trick to this is to just start off the canvas and end off the canvas. So I'm going to just run my paintbrush across this way. And actually this brush may be a little bit floppy for this, but we're going to make it work because I want to just paint. I don't want to stop and get another brush. So leaving it kind of streaky like this suggests a cloudy interesting yet blue sky. Yeah, that's pretty interesting all on its own. I mean, I've done skyscrapes where I've just done interesting things with skies. Don't forget your edges. The sky is always darker farther away from the earth and it's lighter near the earth. So when you're laying on your colors, keep that in mind. So you notice my sky is darker near the top of the canvas and it's lighter now down here near the white part that I left white. I'm just using my leftover paint to just scrub it around the edges so the edges aren't white. There we go. I need to stop for a minute. Hang on. Let's see. Where is my hand brace? He's around here somewhere. Here it is. My left hand is bothering me. All right. Mine's all gray today. I'm in California. So, you know, we don't have enough rain and despite the fact that they keep saying El Nino is coming. It's not here yet. And so, you know, I don't know where to go with that. All right. Now for for the ocean, we're going to go with the Aquamarine and I think I'm going to put a little bit of green in it. I'm going to switch to a smaller brush. There's still a flat one, but it's a smaller one. And you can tell my brushes are well left. I am not great about taking super good care about my of my paint brushes. So and I don't generally, at least with my acrylic brushes, don't generally spend tons of money on them because at some point they end up looking like this and this one actually is kind of loose. Hi. So I'm going to just use my drop paper as palette paper. Good morning, everybody.  This is Thalo green blue and some more white. We're working on a seascape right now while the background for our flower painting dries a little bit. All right.   I'm going to grab a little bit of the Aquamarine, a little bit of the green and a tiny bit of white all on the brush at the same time. They're not blended. The first stroke, you want to be fairly straight unless you want to paint a stormy sea. If you're at the beach and you look at where the ocean meets the sky, it's going to be a fairly straight even line and it's probably a good thing. I didn't have that extra cup of coffee. I was kind of wanting because then I wouldn't be able to make that. The least bit straight would be a problem.  Again, don't forget your sides. Don't mix it completely. You want to work with the natural variation in tone that you're going to get in the paint. If I paint the sides now, then I don't have to worry about it later. When I do big canvases, sometimes I just paint the sides black. Feel free to ask me any questions as you're watching. I was watching a broadcast of the Frugal Crafter recently.  So if it is, you know, hopefully it's not me. I tend to make fun of myself. So, okay, that's already pretty interesting, isn't it? So now I'm just kind of putting like sort of dots of paint, textures of paint with the paintbrush moving it around just a little bit. Oh, good. See, just to give it some texture down here. Oh, thank you. Sometimes I get to painting and I forget that there's anybody watching, so that happens. All right, and that one's still wet. So let's continue on with our little seascape. I'm going to get just some plain white.  This is a little round one. This is a folk art brush. And I, there's some of my favorite acrylic painting brushes because they are inexpensive and they're really well made. I think I need to turn this just a little bit. I'm going to look down here where I painted the ocean and I'm going to look for it. Thanks.  I'm barely touching the canvas and then I'm going to drag it just a little bit. Here's another spot. I see that starts to look like white caps or foam in the ocean, right? You're just suggesting them. You know, I'm not, I'm an expressive painter. I'm not a realist painter. I like being able to suggest shapes and movement with colors and texture rather than actually paint. These little seascapes are fun to make. They make great Christmas presents. Although I think all of my friends who know me in real life would rather I not give them any more seascapes because I paint a lot of seascapes.  Now my oceans all tend to be stormy. I don't know why that is. I tend to do stormy oceans. I think I just like painting the foam. I don't know. That's pretty good. Just a little bit of white paint. That's all that was. Oops. I just see I was like, is that dry? It's dry. Well, it's not dry. Let's see. Let's get my fingerprint out of there. There we go. Okay. We're going to put some clouds in the, in the sky, but first we need to let it dry a little bit. I know, right? See, I'm already, I already had a creative opportunity happen there, right? So here is our other kind of very abstract. Oops. I know, right? Uh, background. We're going to try to do bear, bird of paradise. I, you know, other up until I did the one in water color, I really don't paint bird of bear paradise. Um, I'll show you the water color one. This is the water color one. So I'm going to actually leave it up here and we'll. Oh, good. See, Jerry, everybody needs a break. All right. So let's get out some colors. We already have some white. Let's get out some green. We have our same blue green. That's the water color one and we are going to be doing that on Wednesday, water color Wednesday. I'm going to get out some yellow. I have this color I pulled out, which is Dahlia ride yellow and I do not think that's how you pronounce that, but you know, I have trouble with English. So, but it's more of an orange yellow, a warmer yellow. We're going to need some red. We're going to need some blue. At least that's the colors I used in the water color painting. I know, see, right? These are these are my friend Jerry Bellini from my arts and parts. Her favorite colors are green and yellow. So see and then we're probably going to want a little bit of something dark because to make paintings really pop no matter your medium or any artwork really, you want a really good balance of your medium tones, but then really light lights and dark darks and that the light lights in the dark darks really make the the other in between tones really pop or if you're using all really bright colors, use some neutrals because those are going to really make those bright colors really pop. So this is a brown. This is raw umber. Yeah, I remember. All right, and let's go back to that round brush. I like that round brush already. So first we're going to sketch in you know the basic the stems. Let's see. I always thought bird of paradise where it was an interesting name for a strange flower and I could never figure out how it got that name. I found the original reference photo for this on Pinterest. So if you're looking to try a painting like this there's tons of reference photos for different things like this on Pinterest. It's a great place to find reference photos for stuff. Normally I would let the background dry. Welcome. Now with watercolor you would do this in your lightest value first and then you would go darker because you can't really take it back but this is acrylic paint and nothing is dry. This whole thing is really really wet. But I could if I don't like where I put something just let it dry and then go over it again with more colors and it would be fine because this is wet. I'm going to have to be really careful about blending putting on the yellow in the red and making sure that I don't make mud when I put them on right now. I'm just spreading out kind of my dark green color and refining the basic stem shapes for my flowers. I think that's pretty good. Hey, how are you? Good morning. Alrighty, so now we're going to go in with some bright yellow. Let's see. I'm going to start just kind of mapping out. I don't know in a bird of paradise flowers. Do you okay? Do you call them petals? I don't know if you do or not. Whatever they're called. I'm going to map them out. Oh, you're welcome. I try to always post something. Sometimes I almost forget but then one of my admins from my Facebook group usually reminds me. It's good to have friends who are in the art field like you are because they can remind you when you forget stuff like that. So know that when you're working with yellow paint in any medium, yellow is a fairly translucent color. It doesn't cover the underneath layers well. So if you really want it to, you're going to have to put some white down there first before you put the yellow on or mix it with white. Now I'm going to go with my darker. I don't know. What is this called? Dal day day, daylier ride. I don't know how to pronounce that, but that's the color anyways. Well, I'm glad you're doing better and I'm glad that you're here joining us today and you're feeling up to joining us. We're just working on some little four by four paintings. Christmas is coming. So, you know, I've got Christmas gifts to make and although, you know, I've not really feeling the bird of paradise painting this morning. I promised I said I would do it anyway and we'll try. You know, it may end up being something I paint over, but we'll see. We'll see. I don't know. I don't know. We'll see. So I'm just adding some of this more orangey yellow in here. I'm I just have the watercolor in front of me, but the original photo I got this from was on Pinterest and I did create a Pinterest board with watercolor inspiration photos. So if you go find me on Pinterest, it's over there. There is links to all of my social media stuff on my website, GinaBEarons.com and I believe they are somewhere on my Facebook group too. I'm going to go in with my red. Now one of the joys of acrylic paint is if you get some color on there somewhere that you don't like, especially if your background is dry, which mine is not.  My background is wet. So if I get too much like red right there, I have to be careful about taking it off. The challenge when doing paintings like this on these little canvases is not for me is not painting the subject matter as much as painting it in such a small area. You have to be a lot more suggestive about the shapes than you maybe even normally would be because of the small format is hard to get in there. This one you really want to make sure you have a good collection of small brushes. I'm wanting to add some neon orange. So we're going to do that. That's not horrible. I don't know that it's my best painting I've ever done, but it's not horrible. Hey, Mark. So I'm going to get in here and in the areas that I think should be brighter. I'm going to tap in just a little bit of good morning, Dina. I know nothing about bird of paradise flowers other than what I see on Pinterest. I'm not a gardener.  I like homegrown vegetables, but that's about it. Which is funny because we have a pretty large piece of property for city dwellers. We have large, I should say, and I can't stand gardening. That's not bad. It's not horrible. It's I don't know that it's my best painting ever, but it's not horrible.  These are acrylics. I don't paint oil. I have asthma. These are deco art traditions artist acrylics. You can get a little sample pack that has 12 little bottles in it, including some mediums like a retarder at deco art.com, which I think is a good deal, especially if you're, you know, wanting to try their paints, but not wanting to invest in like a huge big set of big bottles. Yeah, see, I like things like that, Mark. You can get the, you know, I love companies that have these like sample packs where you can just get a few and try it. That's really the way to go.  Their paints are really, you know, I think they're very well done. That's not horrible. It's not great, but it's not horrible. It would be better if I could let things dry, but I'm going to come back in here with some green. Acrylic paint is all about layers of color and marks. So, you know, if you don't get the right color in the right place the first time, don't worry about it. Just keep going. We have a fan over on the watercolor Wednesdays who loves Bird of Paradise and they're the ones that requested the original lesson. So that's how this all came about in the first place. I'm going to grab some brown. Now you can just like with watercolor for your shadow colors, you can use, of course, black or brown and white for the highlight colors. Yeah, acrylic is a lot more forgiving than watercolor. But, you know, I usually don't. I usually use like bright orange for my bright color, fluorescent orange, lemon yellow, dark blue, which I've used a little bit in here, but you can also throw in just a little bit. You know, we have all these bright colors here. So tossing in a little bit of something neutral. No, I didn't do any pencil sketching. I just started painting. I don't generally do any pencil sketches. I do occasionally, but not normally. Okay, that's not bad. I am noticing something I don't like. So I'm going to take a small, I have a little tiny flat brush here. I don't like this shape right there. So we're going to just erase it. The background is wet. Remember, it's so crazy about this one here. That's not bad. I'm going to mix some of our yellow with some of the white. I've got a liner brush, one of these long thin, you know, it's got like painting with an eyelash because I did it live here on camera. You know, I keep saying they're Christmas presents, but I have yet to give one away. So I don't know. I'm going to try to give them as Christmas gifts. Normally I would not be doing this on a wet background. Normally I would let it dry, but I've done. I'm doing this whole thing on camera. You have to be really careful that you don't muddy up the colors. No, you know, I'm in California and things are pretty dry here, but they're not that dry. At least my periscope on my iPad is behaving today. It doesn't always. So yours is upside down. Mine is straight today. Usually I'm the one that's telling you all that my picture is upside down. So I'm just refining my shapes just a little bit. I've got some paint on my brush, but I am just barely touching it to the canvas. I want to pull some of these bits out to a sharper point because I want to be suggestive, but I want to give it some form too. I want to be just abstract enough to be interesting, but give it enough form that you can kind of tell what it is. It's not my best painting in the world, but it's not bad. It's not as bad as I thought it was going to be. I'm going to let it dry a little bit before I decide if I'm going to do any more to it. Let's go back to this one. This one's more fun. Now this one is drier because I think it had less paint on it to begin with. So my sky is dry. No, the honey lines. No, you're so funny. Bird of Paradise. It's not my best painting, but you can kind of tell the I tell what they are a little bit. It does have a slightly abstract look and I'm okay with that because I kind of like abstract. So all right. So this is our more realistic of the two. Hi, nerd. I don't know if you're going to be nasty. Just don't bother because we'll block you. All right, so this is the this is the seascape. So the ocean is almost dry. The sky is dry. And since we have a little bit of stormy wave action going on here down here at the bottom. Let's put some a couple of cloud. A couple of clouds in the sky. We already kind of have suggested the streaky cloud shapes that you can put on top of them other cloud shapes. I'm going to use this brush. I think I'm going to make some purple. I'm just I have purple, but I'm going to make some purple because I have this wet paint on my drop paper and mix the red and blue. This is about as realistic as I ever get. Um, it started with an A. I didn't catch the name. Maybe somebody else did. I'm going to put a little white in this and we're going to need some fresh white. So I know you can kind of see this on the camera. I want you to see the canvas more than me mixing paint. Okay. So I've made a kind of a purpley color and I'm going to put it in the sky where I want my clouds to be now. You know, when you're doing any painting, you don't want your horizon line smack in the middle. That's boring. I think that was it. Oba. I'm a two. Um, you don't want your horizon line smack in the middle. You don't want whatever your focal point is smack in the middle. That's boring. And you want to, um, have, if you have your items on here in groups of three, it's more interesting. It is. That's what it should be. Um, I'm just mixing the paint right on my palette paper, my drop paper. It's just drop paper. So I'm going to put, um, one purple blob here. And one over here being one up here. Now I'm going to do a blob and then I'm going to go straight out this way. A blob and then straight out this way, a blob and then straight out that way.    Until I get a cloud I like. This is DecoArt Traditions Acrylic Paint. This is Monday with DecoArt. It's this paint here. Okay, this is acrylic paint. I don't want you guys to be afraid. You're going to spoil anything.  Your background will be fine. Worst case scenario, it's just one layer that you have to add more layers. It's somebody's telling you you need to add more layers. And once you've done a few of these, you'll get the hang of it. So I'm going to do all my clouds that way. This Periscope will be on YouTube later. I always save them to my phone. So you'll be able to watch it on YouTube later and you're welcome. And I will be, I don't remember if I did it or not. I know it's on my to-do list, but I will be making a Monday with DecoArt from Periscope playlist. And I don't remember if I did it or not yet. I have, I have this feeling I didn't do it yet. So you just keep adding layers to your clouds like you would anything else in any other painting. And the more layers you do, you know, the more interesting it's going to be. I have this thing about really painting skies, especially stormy skies. So there you go. That's pretty interesting all by itself, right? So we're going to need some black. Actually, we could use dark brown. I might want to use dark brown. All right. So we're going to take one of our small round brushes and we're going to use the brown that's out here on my palette. Thank you. And let's put a couple of birds like the birds are trying to flee the storm before, you know, things get really bad. There's a little blob right here. So, right? There's a little blob right here. So I think a bird needs to be there. Make volume. What do you mean by that, Dina? I think I know what you mean, but you better explain it first. I'm barely, barely, barely touching the brush to the canvas. Remember what I said about things in groups of three? So we got to put another bird on here somewhere. That's pretty good. You could leave it at that. There's no reason why you can't. Yeah. So there's you can mix your traditions, your, your acrylic paints with lots of different mediums, like gel mediums to really thicken up the paint and give it volume. And when it dries, it's going to stay really thick. And if you put a lot of it on the background, like I did on this, you know, it's not self-leveling. So when this dries, it's going to have texture to it and, you know, have, you know, bumps and ridges there. It's going to dry that way. I think that's what you meant because these are not heavy body paints. They're not fluid, but they're not heavy body. They're more the consistency of craft paint. So to thicken them, you would want to so that you can get volume and texture. You'd want to mix them with a gel medium. Say I do think they make one, but I don't think I have it. Oh, oops. What happened to periscope? So it comes with a glazing medium and retarder, the little, the little bottles. You can get a set of these little bottles of the DecoArt traditions paints and you get three, six, seven, nine, you get 10. Oh, I did. Crap. You get 10 little bottles of paint and you get two mediums. You get glazing medium and retarder. And I don't know if DecoArt makes a gel medium. Okay. See, it's okay in the phone, but it's not on the iPad. I don't know. See, we were doing so well there. I don't know. It's okay on the phone that orientation didn't change. So I don't know. Sorry guys. We're going to blame it on periscope. So you definitely could do that. And I, you know, I didn't mix. These are just straight out of the bottle. I didn't mix them with anything. The other thing you can do with these little canvases, especially the seascapes that's fun to do is when the acrylic paint is completely dry, you could put a little bit of glitter glue on these white caps to give them a little bit of a sparkle. How much do I draw? I draw all the time every day. I do a little drawing every day.  I don't want to do anything else to it now. You could if you have some metallic pens. Let's see. I have the DecoArt paint pens and they actually work on, they work in situations like this, but the only metallic one I have is gold. And I don't think that's going to work on there. Hey, Mike. But you definitely could do this little seascape and you could put a little bit of glitter glue into the white caps and just blend it down smooth with your fingers and it makes it look a little sparkly. If you wanted to make this be a sunset seascape, then you'd want to put a little bit of yellow above the horizon line here where the sea meets the sky, but and then blend it in and make sure that whatever is above the ocean is reflected in the ocean to make it look more real. Remember if you're going to do that, you have all these blues and purples on here and that works, but if you're going to add yellow or red, make sure these are dry completely because otherwise you're just going to get a brown sky and you won't be happy. So these are the two we did this morning. And you know, yeah, I don't know what's going on with that. It's flipping around all by itself and I'm not even touching anything. So I don't know my iPad is just flipping all around and see this is what I do with the leftover paint. Thanks Mark. I just spread them around. It's but I know right, right, Mike? It's just I don't know. It's very weird. I didn't do anything to it. So then at some point this will be messy enough and you know interesting enough and I'll cover a journal with it. But these are the two little paintings we did today. These are the other ones. I'm going to I'm going to widen out the camera again. I should sign the backs of these. You know, I haven't signed any of these yet. I don't mind if the back gets wet paint on them. There you go. I know I need to date them. I need to actually go back to the videos and figure out when I did the videos. So there they are and I keep saying they're for Christmas gifts, but every time I paint some new ones, then I group them like this and I don't want to get rid of any of them. Even the bird of paradise one that we did this morning, which you know, it's I like it. It's not is it my best painting? No. But like I said, when we got started, I wasn't feeling it and when you know one thing about art no matter your medium, if you're not feeling it. You should listen to that voice. Oh, thanks, Mike. Yeah, I think these would be great grouped on a wall somewhere.  They could be a fabulous look. See, I thought it was a good idea.  So, you know, is this Mike? Do you want the sunflower for Christmas? Mike is one of my new friends and fellow teachers over at Journal and Crazy Island Style for Crazy Island University, FYI, and he's a YouTube friend and I guess we're a big hit on YouTube because I've started seeing people mention our collab videos by name and they're doing them in their own way. So I think that's all good. All right. So this will be up on YouTube in the next 24 hours. It takes me a little bit to get. Oh, see, well, and I live in California and we have fields of them in the summertime. Just, you know, loads and loads. The video will be up on YouTube within 24 hours. It takes me a little bit to get it saved from my phone to my computer, get it edited. And they're always about an hour long. So it takes a little bit of doing. Oh, you're welcome. Give them both a try. You know, try the bird of paradise flowers. Try the seascapes. The two hints I can give you are do your backgrounds first with any of these paintings. If you go back and watch any of the videos for any of these paintings, I always did the backgrounds first. If it was some kind of a landscape or a seascape, the sky first. When you're doing your focal point image, you don't want to have to go back and mess up the background, you know, fix something in the background. You want it done and complete. It's easier. I'm the lazy crafter. I'm not the frugal crafter. That's Lindsay. I'm the I'm the lazy crafter. So you want to do the background first and then work on your foreground and your focal point. Make sure that, you know, things aren't smack in the middle that you have them in odd numbered groups, three, five, seven. That's more interesting. When doing faces, hang it off the edge just a little bit. It's more interesting. This one she's kind of in the middle. She's over to the side a little bit, but this one's more interesting because she's hanging off the edge. The sunflowers smack in the middle, but it takes the whole thing. So that's why that one works. It takes up the whole thing.  The faces are in one video and I show you actually how to mix flush tones tones in that painting in that video.  What's the worst that could happen? You're going to make a mistake. Oh, well, you know, we all make mistakes.  It's not about being the next Picasso. It's about having fun and enjoying the process. The Sunflower was the first one of these I did, Mike. And there's an acrylic video and there's also a watercolor video. And I think one of my rags just fell in the trash bin, but that's all right.  And you know, if you're friends with me on social media and you get stuck on anything and you have a question or problem or concern, just message me. I'm around. I'm always around. So, you know, but go out and play and have some fun and don't worry about what anybody thinks except you. Good. I'm glad that's the whole point.   I don't know what that would be in centimeters. But they're way less intimidating. You can and you can get these in all different sizes. You can get littler ones, but I just thought that would be too hard to film on camera and you could get canvas board. These are mini stretched canvases, but you could get canvas board Etsy. I sell copies of my artwork in a lot of places, but I sell the actual artwork on Etsy. You can go to my website, which is Gina B. Erin's dot com there and you can go to the contact me page and it has a list for all the places where you can find me on social media shops where you can get my artwork and everything else. Wednesday for Wednesday with water work water. Well, blah, blah, blah. I need so many more coffee. You guys watercolor Wednesday. This is the watercolor of bird of paradise. We're going to be working on. There is a PDF download to go with the lesson that's available now in my Etsy shop going forward for 2015. The watercolor Wednesday episodes from Periscope will still be aired live, but then afterwards instead of going to YouTube, they're going to be something that is on a site where you can pay for the video download and the PDF together. And that price will be like five dollars instead of two dollars for just the PDF. It'll be like five dollars and you get the PDF in the video. I'm on society six to and red bubble and cafe press in a bunch of places. All right. I think that's it right now. I need to seriously go make that other cup of coffee Etsy Etsy is easy. I'm the lazy crafter Etsy. You're welcome. Have a great day. Everybody go and play. Mike, we'll talk about the sunflower painting. Not that I'm everywhere. All right, you're welcome everybody and I will talk to you soon. If you have our biz questions, then you want to join maybe my Facebook group, a life of art and self-expression and ask them there. That's one of the things the group is about and I will talk to you all soon. Bye.


The Publisher by C. J. Dennis, read for LibriVox.org by Anna Gingello. I'd like to be a publisher and publish massive tomes, written in a massive style by blokes with massive domes, science books and histories of Egypt's day and Rome's, books of psychosurgery to mine the minds of Moems, and solemn pseudo-psychic stuff to tell where Topsy Rome's when her poor clay is put away beneath the spreading homes, books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and alohms, and bravely burst infinitives like angry agronomes, books on breeding aeroplanes and airing aerodomes, on bees that buzz in bonnets and the kind that build the combs, made a plane with pretty pictures done in crimson's walls and chromes, and diagrams to bulk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-eated gnomes, and make them write and write and write until the printer foams, and my no-man-made loony go to psychopathic homes. I'd publish books I would, large books on ants and antonomes, and palimp sets and palanodes and pallid palindromes, but I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. The Publisher by CJ Dennis, read for LibriVox.org by Alex Eating. I'd like to be a publisher and publish massive tomes, written in a massive style by blokes with massive domes, science books and histories of Egypt's day and Rome's. Books of psychosurgery to mine the minds of... ...momes? And solemn pseudo-psychic stuff to tell where topsy-romes, when her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with the ohms, to certainly show them how to grow in sands and clays and loams and bravely burst infinitives like angry agronomes. Books on breeding airplanes and airing aerodomes, on bees that buzz in bonnets and the kind that build the combs, made plain with pretty pictures done in crimson's mobs and chromes and diagrams to bulk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like superheated gnomes and make them write and write and write until the printer foams and line-o-men made loony go to psychopathic homes. I'd publish books I would, large books on ants and antinomes and pamphletsets and palindodes and palid palindromes, but I wouldn't be a publisher if I got many poems, would you? End of poem. This recording is in the public domain. The Publisher by CJ Dennis, read for LibriVox.org by Antoinette Griffin. I'd like to be a publisher and publish Massive Tomes, written in a massive style by blokes with massive domes, science books and histories of Egypt's day and Rome's, books of psychosurgery to mine the minds of mohms, and solemn pseudo-psychic stuff to tell where topsy-romes, when her poor clay is put away beneath the spreading homes, books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry agronomes, books on breeding aeroplanes and airing aerodromes, on bees that buzz in bonnets, and the kind that build the combs, made plain with pretty pictures done in crimson's, mohms and chromes, and diagrams to balk the brain of Mr. Sherlock I'd set the scientists to work like super-heated gnomes, and make them write, and write, and write, until the printer foams, and linoman made loony go to psychopathic homes. I'd publish books, I would, large books on ants and antonomes, and polymcesses, and palanodes, and pallid palindromes, but I wouldn't be a publisher if—I got many poems, would you? End of poem. This recording is in the public domain. The Publisher by C. J. Dennis Read for LibriVox.org by David Lawrence I'd like to be a publisher, and publish Massive Tomes, written in a massive style, by blokes with massive domes, science books, and histories of Egypt's day and roams, books of psychosurgery to mine the mines of mohms, and solemn pseudo-psychic stuff to tell where topsy roams when her poor clay is put away beneath the spreading ohms, books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry angronomes, books on breeding aeroplanes and airing aerodromes, on bees at buzz and bonnets, and the kind that build the combs, made plain with pretty pictures done in crimsons, moves, and chromes, and diagrams to bulk the mind of Mr. Sherlock Holmes. I'd set the scientists to work like superheated gnomes, and make them write and write and write until the printer foams and Lionel men made loony go to psychopathic homes. I'd publish books, I would, large books on ants and antinomes, and palimposettes, and palanodes, and palindromes, but I wouldn't be a publisher if I got many poems. Would you? I'd like to be a publisher and publish massive tomes, written in a massive style by blocks with massive domes, science books and histories of Egypt's day and Rome's, books of psychosurgery to mine the minds of moems, and solemn pseudo-psychic stuff to tell well top-series of the world. I'd like to be a publisher and publish books of psychosurgery to mine the minds of moems, and solemn pseudo-psychic stuff to tell well top-series of the world, where her poor clay is put away beneath the spreading homes, books about electrocuting little seeds with omes, to stern show them how to grow incense and clays and loams, and bravely burst infinitives like angry agronomes, books on breeding airplanes and airing aerodromes, on bees that buzz in the bonnets and kinet-billed combs, manning plain with pretty pictures down in crimson's, moves and chromes, and diagrams to bulk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-hated gnomes, and make them write and write and write until the printer films, and little men made loony go to psychopathic homes. I'd publish books I would. Large books on ants and antenomes and palimpsets and palinodes and pallid palim-dromes, but I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in a public domain. Well, what looks with massive domes? Silence books and histories of Egypt's day and roms? Books of psychosurgery to mine the minds of moans. And solemn pseudo-psychic stuff to tell where Topsie roms, when her pork-lay is put away beneath the spreading of moans? Books about electrocuting little to still only show them how to grow in sands and clays and loams, and bravely burst infinitives like angry angronomes, books on breeding, aeroplanes and errands, aerodromes, on bees that buzz and bonnets in a column that builds the cones, mid-plane with pretty pictures, stunning crimsons, moves and crumbs, and diagrams to bark the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated gnomes, and make them wright and wright and wright until the printer foams, and liner men made gloony go to psychopathic homes. I'd publish books all wood, large books on ants and antonomes, and palancysts, and palanodes, and pallid paladromes, but I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. The Publisher by C. J. Dennis, read for LibriVox.org by Joy Chan. I'd like to be a publisher and publish mass of tomes, written in a massive style by blokes with massive domes, science books and histories of Egypt's day and roams, books of psychosurgery to mine the minds of moans, and solemn pseudo-psychic stuff to tell where topsy-romes when her poor clays put away beneath the spreading homes, books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry agronomes, books on breeding aeroplanes and airing aerodromes, on bees that buzz and bonnets and the kind that build the combs, made plain with pretty pictures done in crimson's moaves and chromes, and diagrams to balk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated gnomes, and make them write and write and write until the printer foams, and Lion-O-Men made loony go to psychopathic homes. I'd publish books, I would, large books on ants and antonomes, and palimpsests and palanodes and pallid palindromes, but I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. I'd publish massive tomes, written in a massive style by blokes with massive domes. Science books and histories of Egypt's day in Rome's, books of psychosurgery to mine the minds of moans, and solemn pseudo-psychet stuff to tell where topsy-romes, when herb for clay, is put away beneath the spreading homes. Books about electrocuting little seeds and ohms to sternly show them how to grow in sands and clays and looms, and bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes, on bees at buzz and bonnets, and the kind that build the combs, made plain with pretty pictures done in crimson swaths and chromes, and diagrams about the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated gnomes, and make them ride and ride and ride until a printer foams, and line old men made loony go to psychopathic homes. I'd publish books I would, large books on ants and antinomes, and palimpsests and palindodes and pallid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the domain. The Publisher by CJ Dennis, read for LibriVox.org by James Martin. July 4th, 2009, Boston, Massachusetts.  Science books, and histories of Egypt's day, and Rome's, books of psychosurgery to mine the minds of momes, and solemn pseudo-psychic stuff to tell where topsy-romes when her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry agronomes, books on breeding aeroplanes and airing aerodromes, on bees that buzz in bonnets, and the kind that built the combs, made plain with pretty pictures done in crimson's, mauves, and chromes, and diagrams to bulk the brain of Mr. Sherlock Holmes. I'd set the scientists to work, like super-heated gnomes, and make them write, and write, and write until the printer foams and lino-men made Looney go to psychopathic homes. I'd publish books, I would, large books on ants, and antinomes, and palimpests, and palanodes, and pallid palindromes, but I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. The Publisher by C. J. Dennis. Read for LibreVox.org by Jennifer Stearns. Concord, New Hampshire. July 4, 2009. I'd like to be a publisher, and publish Massive Tomes, written in a massive style but blokes with massive domes, science books and histories of Egypt's day in Rome's, books of psycho-surgery to mine the minds of mohms, and solemn pseudo-psychic stuff to tell Wotopsie-Rome's what her poor clay is put away beneath the spreading homes, books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays of mohms, and bravely burst infinitives like angry agronomes, books on breeding aeroplanes and airing aerodromes, on bees and buzz and bonnets, and the kind that build the combs, made plain with pretty pictures, dead in crimson's, mobs and chromes, and diagrams to valk the brain, Mr. Sherlock Holmes. I'd set the scientists to work like super-heated nomes, and make them right and right and right until the printer foams, and Lionel Mann made Looney go to psychopathic homes. I'd publish books I would, large books in ants and antonomes, and pamphletsets and palanodes and pallet palindromes, but I wouldn't be a publisher if I got many poems, would you? And a poem. This recording is in the public domain. Written in a massive style, by blokes with massive domes. Science books and histories of Egypt's day in Rome's, books of psychosurgery to mine the minds of mohms, and solemn pseudo-psychic stuff to tell where topsy-romes when her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes, on bees that buzz in bonnets and the kind that build the combs, made plain with pretty pictures done in crimson's mobs and chromes, and diagrams to balk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated nomes, and make them right and right and until the printer foams and lino-men made loony go to psychopathic homes. I'd publish books, I would. Large books on ants and antemones, and polymsis, and palanodes, and pallid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. Books about electrocuting little seeds with ohms to sternly show them how to grow in sands and clays and loams, and bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes, on bees that buzz in bonnets and the kind that build the combs, made plain with pretty pictures done in crimson's mobs and chromes, and diagrams to balk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated nomes, and make them right and right and right until the printer foams, and lino-men made loony go to psychopathic homes. I'd publish books, I would. Large books on ants and antemones, and palan sets, and palanodes, and pallid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. The Publisher by C. J. Dennis. Read for LibriVox.org by Lucy Perry. Like to be a publisher and publish massive tomes, written in massive styles by blokes with massive domes. Science books and histories of Egypt's day and Rome's. Books of psychosurgery to mine the minds of mohms. And solemn pseudo-psychic stuff to tell where topsy-romes. When her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with ohms, to sternly show them how to grow in sands and clays and lohms. And bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes. On bees that buzz in bonnets and the kind that build the combs. Made plain with pretty pictures done in crimsons, morphs and chromes.  I'd set the scientists to work like super-heated gnomes, and make them write and write and write until the printer foams. And line-o-men made Looney go to psychopathic homes. I'd publish books I would. Large books on ants and antinomes. And pamphletsests and palinodes and pallid palindromes. But I wouldn't be a publisher if I got many poems, would you? End of poem. This recording is in the public domain. And solums pseudo-psychic stuff to tell where topsy-romes when her poor clays put away beneath the spready homes. Books about electrocuting little seeds with ohms, to sternly show them how to grow in sands and clays and lohms. And bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes. On bees that buzz in bonnets and the kind that build the combs. Made plain with pretty pictures done in crimsons, moves and chromes. And diagrams to balk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated gnomes, and make them write and write and write until the printer foams and line-o-men made Looney go to psychopathic homes. I'd publish books I would. Large books on ants and antinomes. And palimpsests and palanodes and palid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. The Publisher by C.J. Dennis. Read for LibriVox.org by Matthew Hansen, a.k.a. Podvoxa.  Science books and histories of Egypt's day and Rome's. Books of psychosurgery to mind the minds of moems. And solemn pseudo-psychic stuff to tell where topsy-romes. When her poor clay is put away beneath the spreading homes. Books about electrocuting seeds with ohms. To sternly show them how to grow in sands and clays and loams. And bravely bust infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes. On bees that buzz in bonnets and the kind that build the combs. Made plain with pretty pictures done in crimson's, mauves, and chromes.  I'd set the scientists to work like super-heated gnomes. And make them right and right and right until the print of foams. And lino-men made loony go to psychopathic homes. I'd publish books I would. Large books on ants and antonomes and palimpsets and palan nodes and pallid palindromes. But I wouldn't be a publisher if I got many poms, would you? End of The Publisher. This recording is in the public domain. The Publisher by C. J. Dennis. Read filibrivox.org by Ruth Golding. I'd like to be a publisher. And publish massive tomes written in a massive style by blokes with massive domes. Science books and histories of Egypt's stay and Rome's. Books of psychosurgery to mine the minds of momes. And solemn pseudo-psychic stuff to tell where topsy-romes when her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with ohms. To sternly show them how to grow in sand and clays and loams. And bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes. On bees that buzz in bonnets and the kind that build the combs. Made plain with pretty pictures done in crimson's moves and chromes. And diagrams to balk the brain of Mr. Sherlock Holmes. I'd set the scientists to work like super-heated gnomes. And make them right and right and right until the printer foams. And linomen made loony go to psychopathic homes. I'd publish books I would. Large books on ants and antinomes. And palimpsests and palinodes and pallid palindromes. But I wouldn't be a publisher if I got many poems. What do you? End of poem. This recording is in the public domain. A Publisher by CJ Dennis. Read for LibriBox.org by Reverend Nottingham. I'd like to be a publisher and publish massive tomes. Written in a massive style, by blokes with massive domes. Science books and histories of Egypt's day and Rome's. Books of psychosurgery to mine the minds of moems. And solemn pseudo psychic stuff to tell where topsy-romes, when her poor clays put away beneath the spreading homes. Books about electrocuting little seeds with ohms. To sternly show them how to grow in sands and clays and loams. And bravely burst infinities like angry agronomes. Books on breeding aeroplanes and airing aerodomes. On bees that buzz in bonnets. And the kind that build the combs. Made plain with pretty pictures done in crimson's, moves and chromes. And diagrams to bulk the brain of Mr Sherlock Holmes. I'd set the scientists to work like superheated gnomes. And make them right and right and right. Until the printer foams and lino-men made looney go to psychopathic homes. I published books, I would. Large books on ants and antinomes. And palimpsests and palanotes and pallid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain. Histories of Egypt's day and roams. Books of seco-sedury to mine the mines of moams. And solemn pseudo-psychic stuff to tell where topsy-romes. When her poor clay is put away beneath the spreading homes. Books about electrocuting little seeds with ohms. To sternly show them how to grow in sands and clays and loams. And bravely burst infinitives like angry agronomes. Books on breeding aeroplanes and airing aerodromes. On bees that buzz in bonnets. And the kind that build the combs. Made plain with pretty pictures done in crimson's, moors and crumbs. And diagrams to balk the brain of Mr Sherlock Holmes. I'd set the scientists to work like super-heated nooms. And make them right and right and right until the printer films. And linoman made looney go to psychopathic homes. I'd publish books, I would. Large books on ants and antonooms. And palim-pests and palin-nooms and palid-palid-drooms. But I wouldn't be a publisher if I got many films. Would you? End of poem. This recording is in the public domain. I'd publish massive tomes. Written in a massive style by blokes with massive domes. Science books and histories of Egypt's day and Rome's. Books of psychosurgery to mine the minds of moans. And solemn pseudo-psychic stuff to tell where topsy-romes when her poor clay is put away beneath the spreading ohms. Books about electrocuting little seeds with ohms. To sternly show them how to grow in sands and clays and loams. And bravely burst infinitives like angry agronomes. Books on breeding airplanes. And airing aerodromes. On bees that buzz in bonnets and the kind that build the combs. Made plain with pretty pictures done in crimson's, marves and chromes. And diagrams to balk the brain of Mr Sherlock Holmes. I'd set the scientists to work like super-heated gnomes. And make them right and right and right until the printer foams. And linoman made loony go to psychopathic homes. I'd publish books I would. Large books on ants and antinomes. And palimpsests and palinodes and pallid palindromes. But I wouldn't be a publisher if I got many poems. Would you? End of poem. This recording is in the public domain.


Hello and welcome to the session in which we will discuss the four cost of quality. Matter of fact, I'm going to break them down into two subgroups. One is cost of good quality and the other one is cost of poor quality. And the four are prevention cost, appraisal cost, internal failure cost, and external failure cost. Now, if you follow my channel, you know, once I have a list, that means I'm going to go through each concept in that list and explain it in details. And that's what I do. But before I proceed, I would like to let, you know, I strongly encourage you to watch this YouTube Steve Jobs talking about the quality, the quality of the material comparing the US quality versus Japan. And he was a strong believer in quality. And he's explaining how US companies try to get quality from marketing versus the Japanese companies where they improve quality by doing. So it's very important. I suggest you watch that video. Here's the link, but also just do a YouTube search. And you will find that just type Steve Jobs on quality. So I would we say some costs are good quality and some costs are for poor quality. You will see why as we're going through this. So prevention and appraisal are considered good quality. So what is a prevention cost? Well, prevention cost is any cost that the company undertake to reduce or eliminate the number of defect, poor quality, non conformance upfront. So what you want to do, you want to train your employees, you want to set up an operation where you minimize or basically eliminate any poor or defective product, product that don't confirm with your quality upfront. Now this activity is a voluntary activity by the company. The company chooses to carry those prevention costs. And basically, I'm sure you heard of this saying, an unsolved prevention is worth a pound of cure. And this is by Benjamin Franklin. And he was specifically talking about how to control fires in the city of Philadelphia. So it's better off looking for prevention.  So better off preventing that product by spending money upfront rather than trying to fix the problems later. So what are some examples of prevention costs as far as from an accounting or managerial accounting perspective? The first thing is when you design your product, have a design prevention, take your time in designing your product, do your market research, talk to your customers, discuss it with your engineers, design the input, make sure you have a prototype before production. So this way you, you test it to make sure it's working as expected that your suppliers, your suppliers are going to provide you with raw material. If your, if your raw material is inferior, you're going to have a failure product. Also assess your suppliers capability and reputation. You want to deal with good suppliers upfront. Don't wait until it happens. Vet them, vet them upfront. Ask their current customers what do they think about them. Do your own search on the internet. Hire a company that investigate your suppliers. Also, from your own perspective, from a company's perspective, your hiring policy is a form of a prevention cost. Do background checks. Assess your employees, your future employees, expertise, experience, academic credentials, certification, provide them with training and continuous education. Prevent, do preventive system maintenance. Check your product. Oil your machines. Make sure they're working as expected. Don't let them go for a long period of time without maintenance. Inspect the material upfront because your material, the quality of the material will determine the quality of your final product. So prevention cost is the best thing to do is to prevent errors from happening up front. But again, that's, that's the most costly thing. Appraisal cost is two of four. And notice what I have, like light green, then darker green, then I'm going to go into yellow, then I'm going to go into red. So here appraisal cost is cost or activities incurred to identify the fact of product before the product are shipped to customers. And the reason is to assure that the product meet our specific requirement. So making sure our product is good. This is before we even think about shipping it to the customer. Just we're done with it. We produce something. Let's look for issues or problems to see if that, if that product is good. Again, those are voluntary activities. And some examples of these voluntary activities is product sampling. For example, for every 100 product, we select two to make sure they need, they meet our, our specification. Any quality control testing, you're testing the quality of your product is a form of appraisal costs. You want it to make sure it's working properly. Testing and inspecting income and material, you receive the material. Now what you do, you inspect it, you test it, basically part of sampling. Why? Because the material that's going to go into your final product, once the product is done, test the product, test the product, depreciation of testing equipment. Look at your equipment, see if they're depreciating, see what you can do. Calibrate your equipment on regular basis. Also from an accounting perspective, you can think of the bank reconciliation as an appraisal cost, making sure your cash and your journal entry match. This is a form of an appraisal cost. Anything in accounting that deals with reconciliation is similar to what's called an appraisal cost. Before we proceed any further and discuss the other two quality costs, I would like to remind you whether you are an accounting student or just a student or a CPA candidate to take a look at my website, farhatlectures.com. I don't replace your CPA review course. I don't replace your accounting course. My motto is saving, helping accounting students one at a time by providing you with resources, lectures, multiple choice, true, false, additional exercises. This is a partial list of my accounting courses. My CPA material is aligned with your Becker, Wiley, Roger and Gleam, and as well as Myles. So it's very easy to go back and forth between my material and your CPA review course. If you have not connected with me on LinkedIn, please do so. Take a look at my LinkedIn recommendation, like this recording, help, it will help me tremendously, share it, connect with me on Instagram, Facebook, Twitter and Reddit. Now let's take a look at the cost of that quality. The first one is the first one, which is the third one in total, the internal failure cost. What is that cost? That's a cost incurred. That's a cost incurred as a result of identifying the fact before they are shipped. Here, think about it. What's the difference between internal failure cost and appraisal cost? Because they are both before the product is shipped. Here, the person purchases the product, but before you deliver the final product, you inspect it. This is the internal failure cost and you find something. The appraisal cost, the customer did not buy it yet. In both situations, the customer is not aware of the issue. Again, this is an involuntary activity. You want to inspect, you want to look at your product before you send it to the customer. So example will be scrap, scrap product, basically bad product. You produce it, it's not good. You figure out it's not good before you ship it. Spoilage, well it was good, but right before shipment, it went bad. Again, you get, you need to get rid of it. Rework, let's assume you're painting a car. Then you did not do a good job or you painted it the wrong color. You will do the rework. That's what rework is. You inspected the product during the appraisal process. Now you re-inspected again during the internal failure cost. That's also additional cost. Let's assume you want to expedite or rush an order because you are behind schedule. Well, you might have to pay your employees over time or you might have to pay a premium for material needed because you need a rush order or you may have to rush the order itself to ship the product to the customer and pay a premium. All of those are considered expediting or rushing cost, which is part of internal failure cost. The fourth cost and the most devastating cost for the company is external failure cost. And notice it's in red. And these days, external failure costs are the worst because customers, they can go online, on Facebook, on Twitter, on different social media, and they can complain. So the external failure cost is pretty bad for some companies. So it's the cost incurred as a result of the fact of product being shipped to customers here. You ship the product and guess what? They find out it's not good. Like I'll tell you something about external failure cost, how I use it. Like when my wife and I travel, when we go to a hotel, the first thing we do, let's assume we need to stay at a hotel, we look up the comments when people stayed at that hotel. And customers, if the customers complain that's an external failure cost, we want to take a look at it. There's too many complaints. And the manager is not responding of that hotel. Well, we avoid those hotels. Like sometime we do, we do find external failure cost, but the manager try to fix it, they promise to have a better quality, then we might change our mind. So external failure cost is really the most expensive for companies because you lose your reputation, you lose your goodwill, and there's nothing you can do about it. Here you have an unhappy, angry customer asking for something, asking for remediation. And the worst thing is when they do a review or when they leave you as a customer, lost, future sales is very expensive. This cost is involuntary. The companies don't want to go through this external failure cost. But how do you reduce your external failure cost? You have good prevention cost, you have good appraisal cost, you have internal failure cost, you don't want to get to the external failure cost. What are some example of external failure cost when the person return the product, return or you have to rework, return or you have to rework the job. Cost of field servicing and handling complaint, you have to take care of the customer address to your concern, that's a cost. Warranty repairs, that's also a cost. And the most expensive cost that usually not on record and company can only estimate is lost sales. You don't know how much future sales you would lose because external failure cost and that's not even on record. What should you do now? You should go to farhatlectures.com, work MCQs and look at additional resources to solidify this concept of the four quality costs. Good luck, study hard, invest in your career, go ahead and subscribe. It will help you tremendously in your accounting education, in your professional certification, CPA, CMA and stay safe.