Welcome to Monet Café. I'm artist Susan Jenkins. I'm happy to bring you this lesson where yes I will be combining oil paint really with soft pastel. It's going to be a lot of fun. This is the reference photo. It's from pixabay.com. I really love the combination of some warmth behind those trees with the coolness and the photographer. I want to give him credit. He's got such a happy face and he's got some beautiful photographs on pixabay.com. Son, you serve? Does anybody know what language that is? And I'm going to be using a product. Once again the faithful company Arteza sent me these black acrylic pads. Oh my goodness. I'm going to be talking a lot more about the surface. It's water-friendly and it's made for acrylic or oil paint. And in this lesson I'll show you how you can also combine oil paint with soft pastel. Bob Ross is so happy.  So in this lesson you will learn how to use this product in combination with the oil and the soft pastels to be able to get long-lasting and beautiful results. And I'm going to show you the oil paints once again from Arteza. I hope you guys don't get tired of me mentioning their products but they send them to me for free, you know, and they're good products. So these, you know what guys, if you've been on my channel long, I don't use oil paints often. But I really enjoy them. And I was happy to see that Arteza's oil paints are, the names are in the traditional names of paint colors. I'll talk about that more in a minute. Now what I'll use to blend them with and dilute them with is Gamsol. It's an odorless mineral spirit. I know a lot of you were worried about this. I used this in my last video to blend pastels. And I got some comments that be careful with it. It's flammable. So don't set it on fire and don't eat it, okay? So I think you guys can figure that out. And also too, they do make water soluble oil paints. I've used those before as well where you don't have to use a product like this. And you can use other things too that are all natural. Now this is the Gray Matters paper palette that I'm using. I love this. I love the fact that it's gray, which makes a nice neutral color or value surface for your colors. And also I love how this works great with acrylics and oils. It's just got a little waxy finish to it. So I use this often when painting with acrylics as well. Now these are the colors I'm using. Like I said, they're kind of the traditional color names. And you can read the names while I talk. But one thing great about oil paint and acrylic paint, you know how much I love pastel painting. But you can't combine colors with pastels not quite in the same way that you can with oil paints. Now notice I went from my lighter values, like the whites, went from warm to cool basically. And I'm not going to use all these colors for this wash that I'm doing just so you know, we're going to be doing an oil wash prior to applying pastels. And but I just wanted to give myself enough colors to choose from and have some fun. And I really do like oil painting as well. So here's my setup and I'm going to show you something and and I'm just using this round brush. You could really use whatever you have. I changed my approach because I made a mistake and I thought this would be a good opportunity to teach you guys a principle that I learned the hard way. I actually had someone tell me in one of my videos where I used some oil paint with pastels teach me a principle that I didn't know before. I learned so much from you guys too by the way. So what I did is I'm using the Gamsol product. But this is good for you to see how I'm using it. I'm diluting, you know, or kind of liquefying the oils to use to apply to this black paper. I love this paper. It works great. I already did an acrylic painting on it. It's awesome. But this shows you how beautifully the oil paints work on it. But when I first started this I forgot about a principle that's very important. You are going to see the right way by the way. That's why I'm speeding this up. It's called Fat Over Lean. I'm going to tell you all what it means. But here's the definition. The Fat Over Lean rule allows you to build a painting that is flexible. So over time they'll be less cracking to your painting. The under layers of a painting should be leaner. So not oil. You want the oil on top. Think of oil as fat. Oils are fatty. So the under layers should be leaner than the upper layers. Now do you recall at the beginning of this video where I showed a product that I applied to the black paper that's going to allow the pastel to stick? This is called Clear Gesso. It is acrylic based and it's water soluble. So you wouldn't want this on top of that oil wash that I just did. I realized, oh my gosh, I cannot put this Clear Gesso on top of the oil wash because I'm putting Lean Over Fat. I'm putting the leaner product that's water based over the oil product. So what's the solution to this? The solution is to put the Clear Gesso down first. And the reason, if you're brand new, you're probably overwhelmed.  But if you've been on this channel and you know much about pastel painting and the way I make my homemade pastel surfaces, you know that this Clear Gesso is a way to take a unsanded surface and make it sanded. There's little bits of grit in this Clear Gesso which allows the pastels to stick. So what I'm doing, now this paper does kind of curl up because you're adding a wet product to it, but it flattens out when it dries just so you know. So I'm adding kind of like two coats of this Clear Gesso that has the grit. By the way, regular Gesso, the white kind that's not clear, does not have the sand in it. I don't know why, but make sure you use the Clear. But this product is going to give that little sanded surface to this black paper so that I can apply pastels as well.  They come off very easily. And again, I'm blowing this dry, but the paper does flatten out. Now with all that preliminary education, now I can paint and describe to you more about the reason we apply things in the order that we do. I'm just doing a little sketch of this. It's basically just a road. I obviously cropped the reference image to be a square format. So I'm just making some general guidelines and then I'll start applying my oil wash. Now unfortunately, I missed some footage, probably with all the confusion I had at the beginning, but this is my little oil wash painting. I kept it very simple and very loose. Not to worry though, in my next tutorial I have all the footage for another painting I did. So now it has this nice sanded surface because the clear gesso is underneath and the oil is on top. Remember fat over lean. So that's why this works. I hope that makes sense. And now I can start applying pastel because I already have my sanded surface. By the way, this is a great way to preserve your oil paints or acrylics by just putting a little piece of saran wrap over them. I push down in the centers between the colors there. So and acrylics dry very quickly. These oil paints don't dry that quickly. And now we can start applying pastels. The set I'm using is the Terry Ludwig Richard McKinley set. If you haven't seen his work, he's an amazing pastel artist. I thought the cool, lighter values in this set would make a nice palette for this very cool scene, except for the warmth that's up above that tree there. And here you can quickly see. I didn't stick just to that one set. I do throw in a few other pastels. These were just kind of nice neutral blues and I liked keeping a lot of the things neutral to begin with. I usually try to add my punchy colors. I don't know if that's a real way to describe brilliant or vibrant colors with pastels, but I've been using it for years. So hey, it's my word. So I usually reserve doing those a little more towards the end. Now this is one of the pastels from the Richard McKinley set. Notice it's a little brighter. And if you look at the reference image there that I've put in there, this is the cropped one that I did. Notice how typically the borders, other than where that light warm area is to the right of the upper tree, the borders are usually a little bit darker. So when you paint, try to think of a little bit of an ellipse if you know what that is.  So those are just little things to keep in mind. Now this is real time. I sped up a little bit at the beginning trying to give a little more education. Notice how I just gave that little mark. This is a gold. I know I've got warmth up there, but I don't want to go too light too soon. I think that was one of the things that I did early on is I would have looked at that and go, oh get a really light yellow. But what happens is you misinterpret values often and you don't give yourself the opportunity to layer colors on top of each other. It's usually best to go with the darker value of that color first and then gradually get to your lights. If you've been painting with pastels or acrylic or oil even, the same principles apply. You want to go dark to light with layering. That's what provides the contrast and that color interest. I had a neat thing happen. One of the patrons of mine on my Patreon page blessed her heart. She said she was a little limited with her budget and everything, but she learned that she can start painting digitally on Procreate. I use Procreate on my iPad. I love digital painting. I just don't have time to do it all, but she said that was an inexpensive way to paint. She didn't have to buy the supplies, but she said the same principles, which I agree, apply with digital painting. You know, it's really a lot of the concepts are the same. It's just learning to use the medium. Now, notice that I went a little bit outside of my reference image. I'm getting a little creative. I'm giving that idea that there's some more trees, another layer of trees, and a little curve around that road where there's a some of the snow can be have the light reflected on it. So I'm getting a little interpretive, but now I've got a little bit of a pink and I want to explain color, my idea of color theory and how this works. To me it's kind of simple. The sun is warm, right? So you use warmer colors. I know the sun is behind that upper right side of the tree. As things get further away from it, they're going to get cooler. Even the pinks. Now I'm just speeding up this little section quickly. I'll talk more about the pinks and the golds in a minute. This is where I, I know I've got a tree trunk in there. So I grabbed the Terry Ludwig eggplant color that a lot of people love because it's a great dark. And I think, I think Richard McKinley even has this one in his set. And I'm just giving some loose indications of branches. A lot of this is going to get covered up when I layer over with some of the masses of the tree. I'm not going to paint any individual leaves in this. I'm going to paint just little shapes and lines. It's going to be very linear. Now I've got a pastel that's not quite as dark as that eggplant color. And I'm using it just to get some of the little finer branches out towards the end. And notice in a tree trunk, obviously it starts thicker at the base and gets thinner and more wispy up around the edges. So again, I just sped up that one portion for that. And keep it very gestural and give it motion and energy. I do have a video on basic tree shapes. Something I think in the video it's called the Fibonacci sequence. But that's a set that I grabbed. It's a Sennelier. Another wonderful soft pastel company manufacturer. It's a French company. Terry Ludwig Pastels is an American-made company or an American company. American-made pastels. And they're just great people. I love them. I love that square rectangular pastel of the Terry Ludwigs. But I also love the round pastels like these Sennelier French-made pastels. Both have vibrant color and oh my gosh if I had to pick a favorite it's hard. I just love them all. All these really nice softies they're called. And Sennelier to me has the most vibrant color. So in that little, I am going to tell you the name of that set, it's the Sennelier 40, there's 40 pastels, half stick set. I always recommend buying half sticks when you can. You get more pastels for your money. Terry Ludwig doesn't have half sticks. I break them in half though myself. But this little 40 half stick set has a beautiful teal, a couple of beautiful teals in it. Also the Sennelier Paris Collection. It's got 120 half stick pastels. Oh my gosh, I love that set so much. One of the paintings I'm doing in this winter series in the month of December is going to be using that set exclusively I think. But notice how gorgeous this teal is. Now what I've done, I've worked that teal in even though you don't really see it in the photo. I know that color cools off in certain areas in the shadow. So I just kind of squint my eyes. I look at the reference image and I look at where those colors might be. Now again, I'm creating another little imaginary bank, imaginary to me. I just made it up. Bank of trees in the distance, it'll start to develop more as I paint. And I have this idea of a row just kind of wrapping and curving around. Notice how delicate my strokes are too. That has taken me a while to do. Now this has a little hint of green in it. And I wanted to add it for warmth and color interest, but I know there's not going to be a lot of warmth in that road coming around the curve. I just thought it would be interesting. And usually warmer colors are more in the foreground. And perhaps some of that golden light is cascading through the breaks in the trees. So now I gave some of that same value to those background trees. Now purple is a great color for snow and shadows.  And that's what I typically do. I get a question all the time is how do you reinterpret the image with so much color? And all I do is look at a hint of a color that might already be there. And I just intensify the color, but keep the value accurate. So you can get very creative with color as long as your value, that means the lightness or the darkness of a color. So if I'm going to get interpretive with a purple or get, I can get the purple more intense, but I don't want to get it darker or lighter than it is naturally in the scene. A lot of artists have adopted the expression, value is king, but color gets the glory, okay? Color is what everybody thinks, oh color. But if you don't get your value right, your painting is going to look amateurish and not accurate or beautiful. So hope that makes sense. Now this is another, it looks like a Sennelier. I think I might have grabbed it out of the 40 half sticks set, but I thought it had a nice neutral blue. Now that leads me to another topic. I've learned all these things over the years after making gazillion mistakes is that if you use all bold colors, everything's going to be screaming color and there won't be any one area of your painting that's a focal point. And so the power of a neutral palette is that, and that's why I like this Richard McKinley set, even though I'm throwing in some of the other pastels. He has a lot of neutrals in the set. He also has a lot of lights in that set, but with neutrals, you're giving the supporting cast to be able to let the color shine like the star of the show. So I'm going to reserve my my punchiest colors, there's my word again, my most intense vibrant colors at the end where I'm going to add that punch to some of the negative spaces between those trees. I'm going to talk a little bit more to now I'm just giving kind of some shapes of that road coming around giving some little gesture or energy as the road curves around, but I'm going to talk a little bit more too about sky holes, talking about color intensity and how some of my punchiest colors are going to be in those little negative spaces of the tree as this progresses. I'm going to talk a little bit more about how to handle value as you go from the spaces in the upper branches down to the spaces in the inner branches.  So I'll talk about that more in a minute. I just I love that topic. Now I'm adding a little bit of these little marks are some of those, notice in the reference image, some of the branches are reaching out where it's really down deep and dense and thick. It's going to be darker, but we've got some branches that are reaching out. They're going to be a little bit lighter in value, but keep your subject matter in mind. If I was to grab a really light white, notice I could call this painting how to paint snow without any white. Often my videos I feel like I could give them multiple different subject matter titles, but I don't use white. I have a whole thing of white. When I get a set of pastels that has whites in it, I just put them to the side or blacks and I don't know if I've ever used them. I might have used black when I, oh yeah I used that little 40 half sticks set one time and I didn't want to use any other sets so it had a black in it that was my only dark dark, but consider your subject matter. Right now this tree, where's the sun? Where's the light source? It's behind the tree. So even though our brains tell us that the little branches of the trees coming out have snow on them, our brain says snow, white, but it's not white. It's really pretty dark and I learned a lot of this from being in graphic design. I'll come back to that topic. I hope you guys don't mind that I talk all the time, but I know that some of you don't. Real quickly, I love your comments.  It helps me relax and be able to fall asleep. I don't know. I don't know if that's a good thing. It's kind of like when I have a preacher I listen to the same thing at night. He's very relaxing and I don't know if I should tell him.  So she puts my videos on. So crazy stuff. So you guys, I'm glad many of you like it, but I might wear some of y'all out. So anyway, back to graphic design. In graphic design I had to use Photoshop a lot. I was kind of, I'm old, okay? So when I started using Photoshop it was it was the cutting edge back then, but I fell in love with learning how color worked by some of the ways I could zoom in on an image, isolate a little area, take that color and compare it to something else. And often things are a lot darker than you think, or the color is more different than you think. So anyway, I could go off on a major tangent there. Now again, notice how I'm getting that halo effect. Remember the ellipse around the outer edge to make sure I'm not getting too light. If I had all those edges light, your eye would just go right out of the painting. The little ellipse in the darker value around that upper left side is going to keep your eye contained. Oh, now this color, it is, I would say, it's not really a punchy color. It isn't in intensity, but the fact that it's a little different than some of the other blues and teals I've added really gives it a nice interest. Also too, notice the shapes that I've done for the trees. I haven't done any leaves. I've just done some little squiggly marks to indicate these branches. And I just think that is painterly and fun and loose. And if you've been on this channel long, you know, I I definitely love impressionism. Not that I don't love photorealistic art. I love that too. And I actually used to do some of that type of art. It's it's actually very relaxing for me to do that type of art. But anyway, okay, this purple here, I'm just warming it up a little. Remember before when I said something about color getting cooler when it gets away from the sun? Well, I know that sun is still radiating some of that warmth out, but it's not going to be as warm as that area to the upper left. So what is a cool warm color? Like a cool red. It's going to be a pink, okay? You're not going to go as golden or as red or as orangey. All right, now I'm even cooling off some of that up there. I know I'm going to add a little more warmth, but I thought I'd put a little bit of that peachy color in there. So I'm just kind of I'm playing and I'm keeping my touch incredibly light. And also too, notice that I'm working the whole. I've learned this over the years because I used to get so frustrated at a certain area. I wanted that area to be all finished and correct. And if it didn't look right, I would just fuss and fiddle with it. And I would just mess it up. So my point is, I'm working the whole. I move around the painting a lot. So now I want to come back to notice this gold is darker. And I'm now starting to add some of those little negative spaces. Some of the gold is peeking around. Well, in the photo it's not. If you squint your eyes, you can see a little bit of that peachy golden color around the the left side there a little bit. I'm doing a little bit more of intensity than you see in the photo. But I soften it later. But now I'm going to start adding the punch. And what I'd like to mention is that in the negative spaces, like I was hinting at before, when you get to the inner parts of the tree, the value is going to get darker. Often it gets cooler. But you've got to consider your subject matter. I've got a sun right behind that upper right side. So I know there's going to be warmth from behind that tree. So I'm just kind of looking at some of the spaces I can do that with. Now also too, if I've got the golden glow of the sun to the upper right side, it's probably going to be casting a little bit of glow on my little imaginary plane over here. So I'm just adding a little bit of that color. My little tree line shape back there, the distant trees is a little wonky right now. So I fixed that later. Here's it that gorgeous. Is this the blue I used before? I think it is. Now I'm just using it to just gesturally work around where some of these branches might be with a little bit of snow on them. I'm not even thinking about snow at this point. I'm just looking at value and color. I was telling my husband today who's not an artist. I said, you know, I wish I could tell everybody what I've learned in a sentence or in one video that is if you can learn the rules of value and color temperature, you can really paint. And I know color theory gets a lot of the glory now that I'm not, you know, belittling color theory. It is very important. But value and color temperature is huge. If you can realize to get the value right, the lights and the darks right, and then you can learn about color temperature, you can reinterpret your photo. You can intensify your photo. You can punch up the color from your reference image or whether you're working from life. By the way, I would love to work from real life. I would also love to work from my own reference images. I happen to love taking photos. But to many of you, I know Monet Café is a place where a lot of us just don't have that life. That's how Monet Café started. I'm a mom of three boys. They're men now. They're big, strapping, beautiful, awesome men. But I had to sneak in my little art time when they got a little older. Goodness knows when kids are little babies. It's hard. But I had to try to find a way to do this in spite of challenges in life. I was a single mom for a while with my boys trying to work. And so I know a lot of you guys can relate to that. That we want to be an artist, but life sometimes doesn't allow us to be the idyllic artist where we always paint on the perfect surface. And it's archival. And we have our own reference images. So praises to all you guys that have lives like that. Now, here is the final. You can see I didn't get the final footage where I intensified the color. But you see those little bits of that bright color peeking through. And to me, that's the focal point. It's this gorgeous sun shining behind these trees and little hints that let you go, oh my goodness, look at God's glory. And I certainly hope you guys learned a lot. This is going to be the next painting tutorial. And I call this one fire and ice. And some of you may have already seen them offering a special December promotion. If you become a patron of mine in the month of December, you can win this painting. And I've decided I'm also going to offer the painting from this tutorial. They just look good together. They're like companion pieces. So if you become a patron of mine, you'll have the chance to win both of those paintings. You'll be entered in a drawing. The drawing will be on January 1st. So you have to be a patron on that date as well. And everyone who's a patron of mine on January 1st will receive my 2022 digital art calendar featuring my paintings, most of them from this past year, with some of my favorite Bible verses. It should be encouraging, colorful, and bright and cheery. Now this is a digital calendar, okay? I couldn't mail out, you know, over 500 calendars to everybody. But you can print it out. I'm going to have a video giving you lots of ideas of how to print it, display it, and hopefully it will bless your lives. So if you'd like to become a patron for those opportunities, you can do so at patreon.com slash Susan Jenkins. I always have a link in the description of this video. God bless you. Merry Christmas. I got way more videos on the way, so I'll be back soon. And as always, happy painting!


OK, now green, yeah. So it's a very broad topic. So I decided after seeing Simona's topic on monsoon and tropical connection, so I thought maybe I should narrow this down to tropical ocean atmosphere feedback. So we'll do that. And then the second half of my lecture is going to continue somewhat where Simona has left. Namely, we want to look into the internal variability of the summer monsoon of Asia mostly. So maybe a little bit strange, but maybe a healthy change in the approach is I'm not going to show any equations. I'm not even a model experiment. So I'm going to look mostly into observations because I feel with accumulation of much research, you can actually see a lot of physical processes and mechanisms operating in real world ocean and atmosphere. So that's what I'm going to do. So I know I understand this is a rather theoretical oriented summer school. But maybe sometimes it's good to have some reality check. So yeah. So although Simona and I are both talking about monsoon, you will see the approaches and even maybe some of the views might be quite different. But that reality is always much more complicated and much more beautiful than we can ever imagine. This is what Alesson I learned from doing this line research for 23 years. So anyway, OK. So this is actually historical compilation of satellite observations down by NOAA in the early 70s. So I guess the first artificial satellite was launched by Soviet Union in 1957 or eight. And then the US put a few satellites in orbit and they mounted cameras on those satellites and taking pictures of the Earth. So this is like a four-year compilation of satellite surface brightness, the Earth's brightness composite for January of those four years. So I think there are many features one can enjoy attention to. But maybe the two particular features I think are very striking and especially in terms of puzzling from the spatial distribution of solar radiation. For example, it's in January. So over the continent, southern hemisphere, you see a lot of deep convection making the clouds very bright. Whereas over much of the stretch of the equatorial Pacific and Atlantic, ITCZ in winter, northern winter, still displays into the northern hemisphere. And also, so that's kind of strange. Just given the solar radiation averaged over the annual cycle, it should be mostly symmetrical by equator. But then the climate is clearly asymmetrical. And another thing is in the western Pacific and the maritime continent, you see a lot of deep convection. Whereas in the eastern half of the equatorial Pacific, it's all clear. So no convection whatsoever. So that's also unexplainable from the solar radiation because solar radiation is only uniform. So it must be due to something else, and in particular due to the interaction between the ocean and atmosphere. So this is a similar depiction of rainfall distribution in gray shade. And then now the SST, I choose high SST contours above 27 degrees Celsius to highlight the co-location between high SSTs and high rainfall. So I guess without SST variations, the convective activity can be very confusing. Like the Madden-Johlin oscillation, people show that convection is organized into a big blob and a big blob tend to propagate eastward. So the dynamics of that is a bit complicated. But in the presence of a strong SST variations, the meteorological problem becomes easier because you simply just say for whatever reasons, it's just a high SST tends to anchor deep convection. I mean, this is understandable. Warm SST allows a big, moist static energy in the boundary layer. They are more convective, unstable, and so on. So if you are a meteorologist, so you would conclude, oh, I understand, because why the ITC stays north of Equator is because SST is warmer in the northern hemisphere. It's straightforward.  So clearly, there's a chicken and egg circular argument between the meteorologists and oceanographers. So when we hear such circular argument that's indicative that you are facing a coupled problem between the ocean and atmosphere, so you have to, you know, solving the chicken problem or egg problem isn't just going to be enough. You have to solve a coupled chicken egg problem. So that's the example to illustrate the coupled approach to climate research. I guess this became a popular since about 1980s, so the beginning of so-called a couple of ocean atmosphere dynamics research era. And then coming back to this North-South asymmetry problem, so clearly, you would like to have some positive feedback that would generate North-South asymmetry. So one possibility is, perhaps, is considering in the tropics, easterly winds are prevailing. So suppose, for some reason, you can get the northern hemisphere slightly warmer than the southern hemisphere. And then you are going to drive winds from a colder hemisphere into warmer hemisphere like here. And then the southerly winds are going to turn due to the Coriolis effect towards the east. So you gain a westerly zonal wind component due to the cross-equitile wind. And then similarly, in the southern hemisphere, the Coriolis parameter is negative. So you turn the winds to be easterly to gain an easterly component. And then superimposed on the background easterly winds, you're going to conclude over the warmer water, the easterly winds are weakening, whereas over the cold water, the easterly winds are strengthening. So if you invoke the wind dependency of the surface evaporation, so high winds will evaporate more water from the ocean surface, therefore, to cool the ocean surface, like vice versa. So that would, if you invoke evaporative effect, then this reduced wind speed is going to intensify the initial warming, whereas the enhanced easterly winds are going to cool the southern hemisphere even more. So as you can see now, there is intrinsic positive feedback between the ocean atmosphere through evaporation that tends to destabilize the symmetrical state of the Earth's system. So these nowadays we call this wind evaporation SST feedback, the West feedback. As you will see, it's actually one of several important feedback mechanisms between ocean atmosphere, driving common variability and distribution in the horizontal direction. So just as a reality check, if you go to Eastern Pacific or Atlantic, you will notice the southern hemisphere, the easterly winds are much higher than in the northern hemisphere, where the tree winds converge. So in the southern hemisphere, like 10 south, the typical wind speed is about 8 meter per second, whereas in the ITCC, the winds are highly variable. You still have like thunderstorms and so on. So the vector winds might be vanishing, but the scalar wind, so it's a scalar wind that is important for evaporation will remain to be some small value, say 5 or 6 meter per second. So the observation clearly shows there is a north-south asymmetry in the wind distribution, and therefore the wind speed, and therefore in support of this West feedback. And then this West feedback, of course, now I'm seeing conveniently introducing warmer SSC anomalies in the northern hemisphere. I could do the same for cooler SST. I will still have West feedback operating to amplify my cooler northern hemisphere. So it doesn't help. It just say the feedback that would amplify the asymmetrical perturbation. It doesn't say why northern hemisphere, but never southern hemisphere. So I guess a popular theory, prevailing theory now, is the AMARC. So AMARC would drive transport heat into northern hemisphere. And that would require the atmosphere to transport the energy back into southern hemisphere, so that Simona and others have talked about. So that would require to displace the ITCC into northern hemisphere for the atmosphere to transport energy back into the southern hemisphere. So this is a global view on the zonal main asymmetry of the system. But obviously, you can point to the Indian Ocean, for example. Indian Ocean has a strong seasonal cycle. You don't even see whether it's in the northern or southern hemisphere. But for some reasons, the Pacific and the Atlantic seem to favor following this argument. So in addition to this global energy framework that dictates the zonal main circulation of the atmosphere, there are also other ideas about why Pacific, why not Indian Ocean. So the first time I remember was when Kirk Bryant told me, oh, you just tilted the coast of South America. So if you do that, then the prevailing traits are going to cause upwelling in the southern hemisphere because the acumen flow goes southward, leaving the coast. Whereas the downwelling would occur north of the equator. So that asymmetry in upwelling would favor a warmer northern hemisphere than the southern hemisphere. So this is a more like a local tropical trigger of asymmetry to a particular basin. So people have done experiments like this. Everything is symmetrical in a couple model. And then you just simply tilt the coast of the eastern continent. You're going to cause a strong asymmetry to the west across the entire basin. So the SST contours shielding rainfall and winds in vectors. So you can indeed, by modifying tropical continental geometry, you can end up with asymmetrical state in the basin to the west of the continent you manipulate. So all those things, all make sense. So which is more dominant in what sense? So all those things, I think, still need to be worked out. So is this also the case? I mean, the Pacific wasn't really the case. I guess also the Atlantic, that's the case? Yeah, the West Africa stick out. So that also you can do experiments. Indeed, you can cause asymmetry. OK, so this is kind of an introduction to this west feedback and also the global control versus the more eastern boundary effect, local effect, if you will. And then I would like to change to the next topic. So I said from the silo image, the western Pacific is highly convective, whereas the eastern Pacific is free of deep convection. So why is that? So that requires invoking this so-called equatorial upwelling concept. So I said in the tropics, the easterly winds are prevailing. So in the presence of the easterly wind, slightly away from equator, you have a Coriolis force and the acumen flow goes forward, both north and south equator, and then will drive upwelling. Because the surface of current divergence will call for upwelling over the cold water from beneath. As John and others have shown, abyssal water is near freezing, so enough cold water. You just need to pump up. John mentioned people in the hot weather, they want to pump some cold water from beneath. Nature is doing this for us in the eastern Pacific, at least. So this is an SST distribution across Pacific in Enumé. So in the eastern Pacific, the SST is something like a 24-ish in the eastern Aquatouille Pacific. So here's the island chain, Galabagos Islands, right? So how many of you know there? So I know like Galabagos, there live a lot of exotic animals. So there's maybe one animal might be surprised to you. So namely, on the equator, there are penguins, right? Galabagos penguin. So they live on equator, so that's just remarkable. It's just that the upwelling is strong enough to make those penguins comfortable, at least, right? That's quite remarkable. I just thought it's just the natural pump system that keeps the Galabagos in the comfort zone because penguin people are associated with Antarctic. It's extremely cold. It's not as cold as Antarctic, obviously. Yeah, so anyway, so the east three winds, so in a sense, there's positive feedback. As long as you can make the eastern ocean cooler, then the temperature gradients are set up to drive strength in the east three winds. So there's a positive feedback. So this is actually what Jacob Bjorkner's envisioned for El Nino Southern Oscillation. So we'll come back to that a little bit. So this is, I assembled those three plots together to get kind of a more comprehensive view of the tropical climate, both at the surface and also in the upper part of the ocean. So this is something similar to what I shown earlier, SST together with rainfall. And this is a Z20. So 20 degrees, also some depths in the ocean. So deep in the west and shallow in the east and the surface of wind velocity distribution. And this is the upper ocean stratification. So another effect of blowing the eastern wind is it set up, it calls for, it set up the pressure gradient to balance out the eastern wind stress. So that calls for thermocline to tilt this way. So in other words, the surface currents are driven this direction. Therefore, they accumulate in the western Pacific, whereas the eastern Pacific is losing water. So the thermocline has to show. So that's also very important. So the total of the thermocline in the Pacific determines why the cooling occurs in the eastern ocean but not in the western ocean. Because the upwelling occurs across the Pacific ocean. But only in the eastern ocean, when the thermocline is very close to the surface, you can very effectively pump the cold water from beneath. Well, here, if you pump, set up a pump at 50 meters, you still pump a very warm temperature from beneath. So it's not going to help you to cool. But so in that regard, both the upwelling and also the depth of the thermocline are both important in deciding the surface temperature you're interested in. So this is a biocannous feedback. So the upwelling will tilt the thermocline to the east and then that will cool the eastern Pacific. And the cooling of the eastern Pacific is going to push the convection westward, intensifying the eastern wind. So this is a positive feedback between the zonal wind and the sea surface temperature through the upwelling and the total of the thermocline. So at this point, we have seen two major positive feedbacks in the tropical ocean. One is the biocannous feedback. This is a very strong feedback, as we will see in oscillation between El Nino and La Nino. Another is the west feedback. Their favor tends to amplify the asymmetrical perturbation in the meridional direction. We will see this west feedback in another real example just a bit later. So OK, so this is the annual mean. So in Simone's talk, clearly, the north-south, the seasonal cycle in solar radiation, I guess we just passed summer solstice, longest day in the northern hemisphere. So obviously, summer is warmer because more solar radiation, longer day, and so on. So you can probably imagine like the north-south asymmetry is going to be much stronger in northern hemisphere summer to reinforce the annual mean asymmetry. Whereas in the northern hemisphere winter, the solar radiation is more intense in the southern hemisphere than in the northern hemisphere. So naturally, the north-south asymmetry might be reduced or maybe even reversed as in many climate models. So we will see what happens to that. So this is, again, an observation for the eastern tropical Pacific in the 120 degree west. So that's something like 4,000 kilometers away from the coast of South America. So again, here at SST in contours, and then rainfall precipitation in this blue shade, and then the white contours are the bigger values of rainfall and the surface winds in vectors. So the surface winds obtained from ship observations, so is SST, rainfall is based upon satellite estimates. So indeed, as we discussed earlier, in September, for example, the northern hemisphere ocean at least is at the height of the summer, whereas the southern hemisphere is in winter. So as you might imagine, the southern hemisphere is a lot cooler than the northern hemisphere. So a very striking ITC displays to the northern hemisphere in September indeed. So the ITC is here, Galapagos Islands here, Hawaii here, Peru here. So Peru is very dry because both coastal upwelling and equatorial upwelling clears up all the convection in the southern hemisphere. So this is this. So September, northern hemisphere summer asymmetry strongly developed. So very strangely, perhaps, the nature is kind of really elegant in the sense in March that the southern hemisphere is in high summer, at least as far as the ocean is concerned. So the southern hemisphere SST temperature would rise, whereas northern hemisphere temperature would drop. So that's the time actually a nearly symmetrical climate emerges in the eastern equatorial Pacific Ocean. So this is what you see like the rain band, the kind of symmetrical two rain bands each in one hemisphere. So this is kind of an elegant delicate in the sense the nature reduces the north-south asymmetry but not to eliminate. So it just reduces the asymmetry to a degree that becomes symmetrical, but nature doesn't push the asymmetry to push the southern hemisphere to be too warm to support the southern ITCZ while eliminating the northern ITCZ. But in models, it's different. In models, in March, the northern ITCZ disappear in the southern hemisphere. There is a very stubborn southern ITCZ in March in models. So that has been a problem, first identified in about 1990s, so 20, 25 years. Afterwards, not much progress has been made. So models still suffer this. People call it like a double ITCZ problem. So yes, for some reason, the nature just stops at the right magnitude to have a beautiful symmetrical ITCZ emerging in the eastern equatorial Pacific. So this is a very in nature double ITCZ appears only briefly during about two months between February to April. So every year, if you go to see satellite pictures in March, April, and maybe late part of February, you will see this double ITCZ. It's just tremendously. When first people spotted, I think 1967 or something. So when people first, the camera sitting on the satellite took many pictures over like March, 1967. And then they did a composite. Beautiful double ITCZ appear. So various people have a different, various theories, including Chani may propose the one. But it turned out not to be too relevant. It turns out SST is the real anchor, not really fancy dynamics of the atmosphere. So that's another example. SST can provide a shortcut for deep connection to organize just because SST determines the surface more aesthetic energy. So it's so powerful distribution that the other things have just to yield to SST effect. OK, so this is maybe a brief summary of what I just said. So the Eastern Pacific and Atlantic Ocean develops very strong North South asymmetry. So we now believe continental geometry, both global and tropical local. So I guess John and Brian and Dave's presentations have shown how the global geometry, especially the opening of the southern ocean, appears to be very powerful to shift the AMOG to have a sinking branch in the northern hemisphere. And also the tilt of the South American continent, the tropical continental geometry might also have an effect in determining which basin would have asymmetry and which basin might not have. So that's that. And also the east-west asymmetry is for the east-west asymmetry, the Biaquines feedback is strongly involved in creating the coal town and therefore allowing Globogus penguins to thrive in those even on the equator. OK, so now I'm going to switch gear a little bit about variability. So I guess in standard discussion of tropical-LSE interaction, you would start from El Nino southern oscillation. And that's indeed what history took place just like in this sequence. So people discovered the couple ocean-atmospheric interaction first by studying El Nino southern oscillation. So I just thought this is kind of a very striking example. Like seasonal variations, of course, the sun is driving the variation, SST and winds and circulation and so on. But across the Pacific Ocean, if you go to measure SST on the Globogus islands, you will find the SST would fluctuate from something like minus 1 degree to plus 1 degree or even more fluctuating on intangible time scales. And then if one goes to Darwin, Australia to measure atmospheric pressure, you will find that pressure also fluctuates on both weather timescale as well as intangible timescale. And what's really remarkable, if you have two time series to plot together, you immediately see there's a high correlation between the two. One in the western Pacific atmospheric pressure. One in the eastern Pacific ocean temperature. Why the two should even have a relationship, right? So I thought this was really bizarre and remarkable. So anyway, through the research in the 80s and 90s led to understanding now that we would approach this problem from the Bjarkeans feedback perspective. So here I'm showing composite sea surface temperature anomaly during September to November of an annual event and in color and surface rainfall anomalies in black solid contour positive and dashed black contours or negative contours. And then here I'm showing like some of the depth here measured by 15 degrees after some of the depth anomalies in color here and surface wind anomalies in vectors here. So the thermoclamp, the flattening of the, so let's start from the eastern Pacific warming. For some reason, you can warm the eastern Pacific. Now you will drive the surface of westerly wind anomalies into the eastern Pacific. And that will do two things. One is to reduce the upwelling in this region. Another is to flatten the thermocline. So remember the thermocline is tilted originally like this. And if you relax the winds, the thermocline has to flatten. So the flattened thermocline would deepen the thermocline in the eastern Akatari Pacific. So even if you have the same pump, the water you are pumping up is going to be a lot warmer than in normal conditions. So that illustrates the thermocline depth adjustment in the ocean is a critical element of El Nino southern oscillation. So if you really look carefully, so like in the eastern Akatari Pacific, the winds at this stage actually doesn't change that much. So the pump is not changing that much. But it's the water the pumps takes up. It's warming up much more than in normal conditions. So this clearly has a positive feedback through the tilted thermocline. It would amplify the surface warming in the eastern Pacific initially start. So this is a kind of a just a traditional Biakenis view of El Nino southern oscillation. So this is, I mean, I thought remarkable in a sense. The physical understanding of all those processes led to a successful seasonal forecast of El Nino southern oscillation. And we don't have time here to talk about El Nino effects in remote regions. Maybe in the second part of my talk, I will reinforce this El Nino influence on Asian monsoon, summer monsoon. But El Nino basically has a global influence. So it's so whatever you study, wherever you live, you will see El Nino signals. So in a sense, if you're a researcher, it's a convenient clock. You can time against your data to explain why your data has this variation. OK, so this is El Nino. I think all this you might have learned in your lectures, classes, and so on. So the last bit, however, I think is quite surprising to myself. And I believe it's something you probably have not seen before. So I will try to walk you through this quite for myself. I've been doing this for like 20, 25 years. It's still sharp. I was very surprised by the results. So anyway, you all started from this rainstorm event in Peru, March 2017. So if you follow the news, that's a big deal. So in Peru, in this part of Peru, annual rainfall is something like 75 millimeter. Almost never rain, because of uproiling and so on. But in a single, like three months of 2017, they observed 631 millimeter. So that's eight times the annual cometology. So you can see people devastated. So this is not terribly surprising for people in Peru. In a sense, when El Nino happened, especially big El Nino happens, they tend to have big storms like this. But that's why El Nino is a term actually used by Peruvian fishermen to indicate the coastal warming. And then Biaquines and subsequent research show that this coastal warming is actually basin-wide phenomenon involving a large-scale ALC interaction. But what's bizarre about this El Nino event is the Nino 4 region indicates the central Pacific equatorial. Nino 3 indicates the eastern half. And Nino 1 plus 2 is this Ecuador-Peruvian coastal region. So if you look at the coastal surface temperature, the anomalies reaches something like 3 degrees Celsius. So at the warmest point, the temperature exceeded 29 degrees Celsius off the coast of Peru. It's just tremendous. So this is kind of the cause, in other words, the coastal warming. But then, if you look at like a coastal El Nino, it's not a coastal, so it's a basin-wide phenomenon. But if you go to central Pacific, eastern Pacific, you'll find actually the SST anomalies, somewhat negative, a weak El Nino state. So this is really bizarre, in a sense, why on the basin scale, you have a weak El Nino. But yet, on coastal Peru, you've got 29 degrees Celsius water with a downpour 10 times of the comatology called rainfall. So this is just very strange. So we decided to take a look. So this is a total rainfall observed during March 2017. So you kind of see there is a double ITCC with two rain bands and so on. But the southern bands, southern ITCC, clearly it's more intensified than northern ITCC.  But what's really strange is, I said, on the basin scale, it's La Nina. But really, this dipolar rainfall pattern is actually somewhat basin scale. It's not limited to the coast, clearly. So this is a really bizarre phenomenon. Then if you go to see SST, so SST like this, total SST. And then this is the extreme warming on the coast. But SST, even SST, you see like an eastern half the Pacific, the southern hemisphere is warming, then the northern hemisphere. So still indicating, it's not like just a convection doing random things. The convection is following the order of SST. So this is what happened in 2017. So as I said, March is a special season that the eastern Pacific becomes nearly symmetrical about equator. So El Nino itself peaks like in northern winter, November, December. So people tend to study El Nino in the winter season more, in the peak season. But then March, I thought March is a different season. So maybe we should look at March, April season more closely separately. So then we did an EUF analysis in this domain of rainfall, rainfall variability. And then this is EUF1. EUF1, you kind of see the kind of blue, greenish color is increased rainfall, and the blinds decreased rainfall. And then the surface winds and SST anomaly. So SST anomaly is positive across the basin for the first mode. And if you look at the time series, you immediately notice it's dominated by 83 and 98. So extremely El Nino. Extremely El Nino can push the warm water all the way across the Pacific Ocean, triggering convection, even on the equator. So this is extremely El Nino. And then the second mode is related to the Peruvian flooding. So you see the second mode is dipolar, meridional dipolar. The northern hemisphere rainfall generally increased, whereas the southern hemisphere rainfall decreased. And then you see the winds are blowing from a dry hemisphere into warmer hemisphere. And then the winds also turn in this sea shape. So that's indicative of West feedback. So in other words, in the Pacific, I never expected to see West mode in terrestrial variability in the Pacific. I just thought El Nino is so dominant. So you won't give West a chance. But you still see this in limited seasonal window for February, March, April. And what's really surprising is that UF2 is highly correlated with central Pacific SST anomaly. So this is really bizarre. Somehow this is a, some El Nino would have a meridional dipolar pattern in March, April. And that could cause heavy rainfall in the southern hemisphere. So this is bizarre, because El Nino is generally considered to be a pattern peaking on the equator, symmetrical about the equator. Whereas now I'm saying like in March, April, it's a dipolar meridional asymmetrical. So there's something we don't quite understand. But then if you go to really look at how this meridional dipole develops, so we know how the dipole looks like in March, April. We just go back to one season to see what happened. To the SST in November, December, January season. So this is the SST anomaly in color shading and surface winds in fact. And then this is the rainfall anomalies here. So here in the solid contour, I'm showing SST, chronological SST, above 26 degrees Celsius. So you can see like in November, December, January, the main climate is highly asymmetrical. Warm water is confined in the northern hemisphere. So even if the SST warming is symmetrical, the rainfall response is going to be asymmetrical. So only northern hemisphere is warm enough to have a convective response. Southern hemisphere just doesn't say what the ocean is doing at this point, because the main climate is so asymmetrical. So that determines the winds actually are highly asymmetrical, blowing from southern hemisphere into northern hemisphere. So SST is nearly symmetrical, but atmospheric anomalies are already asymmetrical about the equator. So you can imagine in the next season, when my main climate becomes asymmetrical, this asymmetrical atmosphere response is already planting seeds of asymmetry in the system. So in the next season, you will see, oh, OK. So this is a meridional overturning circulation. So this is a transect across eastern equatorial Pacific, 15 south, 15 north. So in the northern hemisphere, El Nino would cause upward motion because of strong convection. Whereas in the southern hemisphere, no counterpart in the deep circulation and adjustment. So in the next season, when we go to February, March, April, when the climate is nearly symmetrical, so the ocean is warm enough and conducive to convection in both northern and southern hemisphere. So that's why northern hemisphere remains a positive rainfall anomalies. But now you develop a negative anomalies to the south. And the winds are accelerating. So the tree winds, the south-easterly tree winds are accelerating in the southern hemisphere and decelerating in the northern hemisphere. So this is kind of a classic West feedback type arrangement. So it's not like the West feedback is not working. But you need a right environmental condition for this to take place. It can transform a symmetrical El Nino into anti-symmetrical meridional dipolar structure. And now if you go to see the vertical motion in the atmosphere in the eastern Pacific, you see both in the northern hemisphere and southern hemisphere, you see very deep circulation anomalies consistent with the convective anomalies. So here a humidity increase, and here humidity decreases. Yeah, so this is quite surprising to me, although I've been around for quite a while. But still the nature would often surprise us with something new. And after you think through it, it all makes sense. So if in the, so that means the SSTs and the Nino 1 and the Nino 4 region, they are anti-correlated in March? So that part is more complicated. So although we motivate, our study is motivated by Peruvian flood, right? But when we go back to correlate the Nino 4 with the Nino 1 plus 2, the coastal SST, statistically they are not correlated. So another surprise in way. So I haven't figured out that part yet. But I just thought it's quite bizarre. El Nino would develop into an anti-symmetrical pattern when the conditions are right. Yeah, so this is just to illustrate this meridional oscillation in the Hoffman-Moller diagram. So here from 1979 to current and equator northern and southern hemisphere, somewhat the zonal average in the eastern equatorial Pacific. So you see like a, cum logically, you have both ITCZ, both rain bands in each hemisphere. And then occasionally, the big El Nino would intrude into eastern equatorial Pacific, causing rainfall, right? Especially 83 and 98. And then you see that like in each hemisphere, the rainfall would oscillate. And rainfall oscillation actually occurred in the north-south anti-symmetrical fashion. So this is a scatter plot between the southern rain band and northern rain band rainfall. So you see this rainfall intensity between northern and southern ITCZ is anti-correlated. So sometimes you only got southern ITCZ such as in 2009. And in the immediate next year, you only got northern ITCZ, not southern one. So now I think we kind of figure out this is the meridional oscillation is actually controlled by El Nino southern oscillation. Very bizarre. OK, so just put up a summary of the second half. So the second half is more like the current research. So we find like we call the eastern Pacific ITCZ dipole. It's a west mode confined to March-April season when the main state is symmetrical. And therefore, the atmosphere feedback is strongest. So you can choose the northern or southern hemisphere, or both to have a convection. And it represents internal variability in relative intensity between northern and southern ITCZ. And strangely enough, this epic mode is preceded by moderate El Nino southern oscillation phenomenon as indicated by Nino 4, central Pacific SST anomalies. So this paper just published in Journal of Climate. If you're interested, you can take a look. So I'm just still five minutes, but I like to open for questions for both the first part, kind of a general introduction to tropical climatology and major positive feedback between ocean atmosphere. And the epic mode just show both are present in the different stages of El Nino southern oscillation. OK, questions? Yeah, if I.


So dad brought it up to me a couple of, well it would have been a couple of weeks ago now, that there was a stair climb and what it was for and I instantly jumped on it as I do with most of the CFA stuff. And because it was for a good cause and a good opportunity to have a father-son moment with dad as well. We've only got around about 15 operational members and about 900 houses that we look after in the immediate area. Probably like many families who've probably been through some darker days, some better than others. So that's a way, you know, this cause is something that's particularly of interest to me. Ben and I have an extended family member who's going through some very tough times. I think one thing that has come out of this whole process is to realise it's not just men, not just guys who go through this relation that I'm talking about as a female. So yeah, it's a privilege to stand and go up 28 floors in a week and a half's time for her as well.


Hello, and welcome back to JSA TV and JSA Podcasts. We're here live from Capacity Europe. We are covering the latest stories, trends, and innovations in the digital infrastructure industry with leaders such as Jen Parkill here from Verizon Partners Solutions. She is Director of Strategy Execution. Thank you for joining us, Jen. Great to be here. What a great opportunity. Yeah, absolutely. We're so excited to chat with you. And we are talking about a very specific topic on this interview, which I'm really excited about. We're talking about attracting more talent into the industry. So on that note, you were actually on the keynote panel yesterday talking about that very topic. So could you give us just a little overview for folks who weren't able to attend a key takeaway perhaps? Perfect. Yeah, it was a great panel with some of my esteemed colleagues across the industry as well. And I think one of the key takeaways is that we have to use data to really make sure we're identifying where the challenges are, where the opportunities. And then once we institute initiatives and actions, how do we actually then measure their success? And what does that do for the industry? And I think continue to do partnerships with universities and trade programs so we can get that talent into the industry early on. And then of course, develop them and provide upskilling and reskilling opportunities throughout their careers is going to be key for this industry as we continue to innovate and take advantage of the opportunities the industry has in front of it as well. Yeah, absolutely. And so actually, getting to those practical solutions that you're talking about. So what is one practical solution that telecom companies who are watching this can implement to support that upskilling? And that reskilling that you're referring to. Yeah, that's perfect. So I'm part of the Global Leaders Forum. And each year we do an annual study with all the member organizations. And upskilling and reskilling came out as one of the key takeaways this year that we needed to focus on. And as part of that, one of the initiatives and a call to action we have for everyone is that we're going to have an open source library of curriculum and material that anybody can then access. And so we're asking member companies and everybody here who's watching, if you have content of curriculum, that you'd be willing to share for the larger industry to leverage. And obviously, you would have then access to what everybody else provides. Reach out to me on LinkedIn. And we're going to set up this library with the GLF and then get it communicated and updated as time goes on. So we're looking at a sort of a near term initiative to get this kicked off. Excellent. Awesome. Well, that's perfect. Thank you so much for that quick update there. And so you've been at Verizon Partner Solutions for about a decade now and worked for other telecom operators previously. So you've been in the industry for quite a while. So could you talk a little bit about the shift in priorities when it comes to global wholesale telecom? Sure. I mean, it's amazing. A decade goes quickly as we can all imagine. And I think we've all seen across the industry the appetite from customers for self-service and automation, making sure they can control the destiny of their services. I think even before the pandemic, but definitely with the pandemic and the hybrid or remote working, making sure we're supporting employees wherever they are with any time connectivity. So I think we're seeing the shift from wireline to wireless services. I know in our space at Verizon Partner Solutions, we're really seeing an uptake in fixed wireless access demand, IoT, and making sure we've got a suite of services that can then support customers wherever they are and customers are. And I think we're going to see that continue in addition to enhancing the digital platforms and customer experience so they get what they need to actually activate and quote services when they need them. So it's an exciting time. I think we'll continue to see more use cases. Private networking and MEC come through in the next 12, 24 months where I think there's a lot of opportunity for the global wholesale industry and Verizon Partner Solutions to meet the needs of the customers around the globe. Yeah, so I think that brings it full circle. It's an exciting time to be in the industry, which is why folks should consider joining the industry if they're not or reskilling, staying in the industry.  Yeah, I understand. Well, thanks so much for having me. Yeah, thank you. Thanks for joining us on JSA TV and thanks to all of our viewers for joining us on JSA TV. Happy networking.


We hope to open a new pathway to Purdue or to some other great launching pad for life. We refuse to surrender to the idea that young people from this neighborhood or anywhere in the Indianapolis Public School district cannot prepare adequately and arrive at Purdue fully ready to compete. I am so incredibly proud of each and every one of you. Of the students sitting here before me, I cannot believe that it was four years ago that you all walked through the doors as techies for the first time. Purdue University is a land-grant school. It was put there just as this high school was put here to try to open the doors to education and to a better life and to provide access to opportunity to people who might not otherwise have it. So the people I meet who made giant leaks from Purdue almost never came from fortunate or privileged or wealthy circumstances. They came from small towns, they came from farms, and they came from neighborhoods like this. They went on to do fantastic things and you're gonna do the same. The tassel symbolizes your time as a student. When you move your tassel to the other side, you're also moving from students to graduates. So for the first time, introducing to 2021 graduates, class of PPHS.