representing Free Salon Education, obviously. And today we'll be going over C color melt. Now, one of the things that led me to this was actually Matt just giving me a mannequin and saying, when you think about fantasy colors, think about the fact that by definition, fantasy is a process or the mindset of creating, you know, something that is impossible or improbable and totally unrealistic. And I like the idea of that. But then you're literally becoming like your own little Jackson Pollock or Picasso or Bob Ross. So you're just having a lot of fun with the hair. Plus you're combining techniques that literally you would use in the salon for other techniques, such as a block color technique or even like a root touch up with some highlighting. So always think creatively, but push the boundaries. So with this color, we used Paul Mitchell Pop XG. I used about five different colors to create this. Pop XG is a really great fashion color that does help to just condition the hair a little bit. It has the most amazing kind of apple scent to it. Kind of reminds me an hour later. As I talk, you guys will notice that I make a lot of food references. So bear with me on that. But also with fantasy colors, you have to think about the fact that it evokes a certain type of attitude in somebody. And like I said, you're creating something that's totally improbable and unrealistic and totally from your own mental images. So when you say something like, oh, we're gonna go with a Phoenix today, what does everybody think? They always think reds, oranges, yellows, very fiery. And it's such an empowering kind of image too, where it just kind of makes you think about rebirth and growth and all of that kind of stuff. And besides that, it's just totally badass. So with this color melt, I just went in with your primary colors. There was a time where I tried to explain that to Matt and it was kind of a little disjointed. So I was glad that he gave me the opportunity to just play. So with this, I used the color melting technique where I just blurred the root a little bit. I used midnight as well as Bordeaux to create kind of like, not just a flat black, but a reddish black. Then I used red. Instead of using just a basic blue, I actually used the tropical blue that they have because it gives it just a little bit more of almost like a denim feel to the hair and then yellow. And of course, when you're melting and you're kind of just combining these two colors together, you end up making secondary colors. So we all know that if you combine blue and yellow makes green. So we get a lot of different pops. So it's almost like an impressionist view of coloring hair. So you have, depending on where you part it, she can have different looks no matter what.  Personally, I used a diagonal section. Diagonal sections for me are a lot more forgiving and they peak at different areas. So again, you get like a really cool mix of colors as it falls and as the hair moves. So when this is swaying in the breeze, like all kinds of things are just popping out left and right. And people are like, wait, where does this begin? Where does this end? So also keep in mind when you're coloring, what kind of cut are you going for? Like when I colored this, I didn't think about the fact that like, Matt might be cutting it short, but I did think to myself like, hey, I would still like to see light and dark pushing each other. Cause like right in this section right here, I went a little bit lower with my darker kind of black base. So that way it can really pop those colors that are laying over it by having that shadow behind it. And again, that's achieved through more of a diagonal sectioning. And I also tried to work a little bit neater than I normally do. So I also use our Palm Mitchell paddles. It's great cause it's got these little wells in there so you can actually like load your color on. And this is also from their balayage collection. So technically from their balayage collection. So this is where you would actually load up your clay lighting or your skylight or whatever it is that you're using. So I'm going to work with that today to make it a little bit neater, especially because Matt put down this totally white floor. And now I have the pressure of not messing it up. All right, so let's get started. So originally when I did this, I just did this sectioning just to keep it neat and out of my way. But actually what it does help to do is that I'm not going to end up touching any of the other areas. And I can work almost like in a bricklay pattern with my diagonal sections. Some of the sections because of the diagonal will actually kind of make a triangle or a horizontal line, but it'll still diffuse really nicely because of the point that it comes to right in the center. Okay, so let's drop our first section there. And let me get some gloves on. So I'm going to hop in here, Danielle. One thing with you guys that are watching, so we're running this show. If you guys have questions, make sure you put a cue and then your question. That way I can send it over to Danielle. She can answer it for you. What this whole class is about, these classes that we're doing every day live, is about you guys getting involved, talking in the chat, having a good time. So definitely start asking your questions, put the cue in front of it, and I'll get it over to Danielle as we go. Also, some of the OGs in the chat, people have been watching this for a very long time. If you could help us out, if anybody asks where Danielle gets her clips or where Danielle, any of the normal questions, what's the app, all that stuff, just let everybody know, post the links in the chat for us. I'd really appreciate that. And yeah, that's pretty much it. So I'm going to let Danielle keep going, but just type cue, put in your question, I'll get it over to her as we go. All right. Okay, so right now I'm just mixing midnight with a little bit of Bordeaux, because as I said, I don't want it to just be a flat black color, because especially when somebody goes out, because this is a totally blonde canvas, so I had to create a root to melt from. And if this is something that somebody does, especially if they've had fantasy color before and they're completely blonde it out, or they're just naturally blonde, I like to see a little bit of reflection. And I just naturally go for warmth, even though technically we're using warm and cool tones right now. Okay, so I just like to mix that up. Now fantasy colors, anytime that you're mixing them up, you can customize them obviously. So just take like a white paper towel and then swatch that to just get the exact tone that you want. I create a lot of these, like I have one lady that her name's Erica, she was actually in yesterday. And every six weeks, well, five to six weeks, she comes in and we get to have fun and change up her color. She does like a blonde root with a natural like nine to N plus level. And that's Paul Mitchell, by the way. And then I highlight her obviously so that I can get those nice true results with the fashion colors.  And she doesn't mind being a little different. And she actually loves all the compliments that she gets whenever she's out and about. So I always love hearing that too.  Now what makes this so great for doing the root smudge is that it has these very soft bristles, a lot like when you're using what you use for balayage. So it's very tapered, you have higher lower bristles, plus they're a little bit jagged. And because it's soft, you're not totally pressing into the hair.  Now I went in with a diagonal section. Just turn that so you can see that a little bit better. So I went in originally with this little diagonal section. Now I'm just gonna outline that with this little cricket brush that I was talking about. We're gonna get right up to the root. Now I'm taking a rather large section. I don't know why, I am slurring like this today. I say section sometimes, yeah. Just get a little tongue tied. So I just drag that down a little. I don't press right through to that middle section because later on with my paddles, I'm gonna be using those to lay my color down and get like a little pressure going. So I just like, as I said, to use this paddle so that I can apply my color, especially when I'm using like the yellow and some of the lighter colors. So I can really saturate through. Now as you can see, I just painted a couple of lines here. So that way when I go to smudge with my hands after I apply with the paddle, I'm gonna give a seamless little blend to it. Whereas I would make a lot more work for myself if I were to do this by hand and I have to constantly go back and forth wiping my hand. And then as I discovered while playing with this that when you do it that way, you end up getting a very big color bleed because another mannequin that I had done for Matt, I was using magenta and I had yellow and I thought, oh, that'll be so cool. And then it wasn't very cool. Another brush, do you? All right, so getting back into that, now I'm just gonna drop this guy out the way now that I'm done with it. And this is where I will take the section and just start to massage that. Now I usually like to go from top to bottom depending on like the blend that I'm trying to make. So right now I wanna blend that red right up into the yellow because I wanna make a little bit of an orange. And as I said, this just helps to push the color upwards and saturate the entire section. And now you can see that we have that nice little blur going by massaging that through. And then I just have a little towel here that's just half wet, half dry so that I can wipe my hands off in between and not disrupt any of those other colors. So now I'm gonna take the black and I'm gonna drag that down into our yellow. Now if you don't wanna see as much black blurring into the yellow, you can do it the other way where you can actually go from the yellow up and that way you see a little bit more yellow. Okay, so there's our first little section there. Now I'm the type of person that I've taken a lot of classes and I've gotten a lot of different perspectives from different hairdressers. Some that they're very into nature and they draw inspiration from going out into the woods and seeing leaves fall and something like that and I never really got it when I first started doing hair because I was looking at it from this totally, you know, like technical standpoint whereas fantasy colors, they're very organic. They're very whimsical and fun. So you do have to have fun. Yes, have the technical side of it where you wanna go and why you're picking the certain placements that you have but don't get so caught up in it that you forget to have fun. Okay, so again, I've dragged down just those couple of little sections seeing as how I did yellow over here. Now I feel like I wanna do a little bit of blue. So I'm just gonna put that right underneath those little sections or ribbons of color that I dragged down. And if there's a large enough void, I'll drag a little bit of that up with my brush on a diagonal, bringing that a little further down now. And then with this section down here, let me switch my paddle brush. That's official Veronica, you are an OG. We're making the executive decision right now. All right, and then let's see, I'll do yellow on this side. Because I don't really want the colors to actually blend too much. So I try to stay conscientious of what color it's sitting next to and what color is sitting on top of it. So down here, again, we're gonna go in, start blurring that yellow into the blue. So I'm gonna work my way up. As you can see, it's starting to make that kind of little turquoisey, greenish little color there. And then just clear off my hands. And now I'm going to blend that blue upwards into the black. So the other reason that I like this little bricklay is that it's easier for me to lay my sections down. So they're not gonna overlap onto each other and ends up coloring the other section. And again, we're gonna go in with our midnight and Bordeaux. Outline that root. Now this one I'm gonna drag down a little bit further because I don't want it to blend in with the other sections. And as I talked about in the beginning, I always wanna create a little bit of a lower darker point so that it'll pop these sections that are on either side. So you're creating your own shadow. I'm taking that down a little bit further. And almost like a relaxer application, I'm gonna go in top and bottom because seeing as how I'm doing that little massaging motion of blending those colors, that's gonna saturate that little middle section for me. And I'm just gonna see, did I go low enough? So I'm actually gonna go a little bit lower now that I'm putting that next to my section because I'm like, I really want the midnight and Bordeaux to hit in between the yellow and the blue here. So that way these two colors really pop. And then especially if you're keeping that long, then the third color that I'm gonna put in, which is going to be blue at the bottom, is now gonna be a nice little juxtaposition.  And you can keep doing two sections of color, three sections of color, totally up to you, or you can just have one with your root smudge. So again, I'm a very big, you know, create your own kind of canvas and your own kind of magic with your work kind of person. I'm not gonna say this is the way you do it. And that's the only way, because after this many years of doing hair and the amount of hairdressers that I've come in contact with, like Brian, like Matt, Colin Caruso, Stephanie Kaczelski, it was such a really great experience to be able to talk hair with all of these people and to see them work. And that was the biggest takeaway that I had. Know what you're doing and why you're doing it, but have fun with it. And when I was going through the educator program, I went through with a guy called Ryan, well named Ryan Belmonti. And he was awesome, because he was the one that just kept reminding me with these little love notes that we would write to each other after a presentation. And he said, just have fun. And that's what I've been trying to do ever since then. Right, so we got that section. Now, if you're the type of person that you like to have your section separated and you don't want them free-hanging like this, then I'm just gonna use a little bit of body wrap, lay that right over the section. And you can see through it, obviously there's nothing to really process so you're not really worried about that. It's literally just working a little bit neater. Now we're gonna drop down that next section. So this is why I sectioned it out the way that I did so that way I can just work panel by panel and be a little bit faster because anybody that knows me knows that I work at my own pace, which is slow.  So sometimes I just gotta sit there and stare at the hair, but you don't always have that time in the salon. But pretty much everybody knows that when you're doing a fantasy color, you're committing to a good amount of time in the chair. So most people really don't care that, yes, this is gonna be like maybe a half hour, an hour or whatever of an application. Because this is literally art on their head. Okay, so with this section, I am just smudging right at the root instead of dragging that down past about two inches like I was doing with the other sections. Now if you want, you can lay that against the head. Let me turn that a little bit. You can lay the section against the head once you get a little further up in your sectioning because now it's not rounding out and the nape is kind of a funny place because seeing as how it flattens out and curves here, it's kind of hard not to mention you don't really wanna go staining somebody's neck. So up here, I got a little bit more scout to work with.  I think for this section we'll go red. And with this, you can plug in just about any color that you want and of course any color line that is your preference. As I said, I just like the semi-conditioning properties of the Pop XG and I like the consistency. It's pretty thick. So even if the hair is slightly curly, I do get like a nice saturation. Okay, so again, gonna switch that paddle out now that I'm gonna switch to blue. And then you can kind of feel like a little painter. As I said, you kind of get like your little Bob Ross feel having these little paddles here. Now for this one, I'm gonna go blue for the tips of the hair. And again, if you're coloring the hair for somebody, if you're in a compartmental or departmentalized salon where somebody does coloring, somebody else does cutting, you know, something like this, you would definitely wanna consult with whoever's doing the cut to see how far you would bring down these tri-colors. As if you're just doing one or two colors, sorry, like what I did in this middle section, then it doesn't really matter.  So just be aware of what the haircut and also the styling that the person is gonna use. Just take that into account when you're coloring. Okay, and again, I am going to blend my red up into the black. And I just like this nice little subtle blur because then you don't get that harsh line of demarcation because that is like my pet peeve in life is to sit next to somebody or behind somebody because as a hairdresser, yeah, I'm always looking at hair. So I guess I'm the best and the worst person to go to a wedding with or any special occasion because I will constantly be fixing your hair, moving pins around and stuff like that. So again, I love hair. So again, just have fun but think about what you're doing and why lost control over there. Got it. Got it. All right, so again, on these outer corners, just taking these diagonal sections, that makes like a little triangle in a way. Now, if you miss a section like this, again, because we're working section or panel by panel and then section by section, you can tap those little areas that you might have missed. So for me, it's a lot easier to have this roadmap ahead of time so that I don't sit there overthinking any section and then take a lot longer than I need to. So just painting that outside. And as I said, now that we have this side of the head that we can mold the hair to, I'm just gonna push that in a little bit more. And again, only taking these little sections about maybe two inches, three and a half, I don't know, whatever, I'm not good at measuring. I'm taking it a little bit of ways from the root or the scalp itself. Lori's got a good question. She's saying, how do you stop bleeding at the bowl? Now, with something like this, I do try to get somebody to at least let me do a cool rinse. And when you're working panel by panel like this, it is a little easier to lift that up, especially if you have an assistant. But if you don't, don't use hot, hot water. Try to go in with a cooler temperature. Most people that get fantasy colors are already used to doing really cold rinses and all of that stuff. So it's usually not a problem. But that would be my recommendation, cooler rinse. And of course, making sure that you're using a sulfate-free shampoo, because if you're using, say, something like, a lot of people will use Tressame and Pantene and stuff like that, and it totally rips my soul out because then it's like, okay, you just flushed all of my hard work and your money down the drain very, very quickly. So it really does matter, because as we all know that laurel sulfates that are in those shampoos, they're like mild detergents for the hair. So they're literally gonna open up that hair shaft and seeing as how the fantasy color is only living on the surface of the hair, it's just gonna open that up and it's literally gonna fall right out. And as I said, most people that get fantasy colors, they already know.  You're gonna have blue lips if you really wanna keep this for the longest amount of time. But what I have noticed with little fun things like this is that when they do bleed, and you can see that as we're melting them together, they just make, oh, oh, it stained. It's all good, Danielle. Oopsie. You know, it's a good thing when your boss believes in you and is okay with your clumsiness. Yep. Even as he's staring at that blue brush that's still sitting there. So I'm just gonna get that real quick. I didn't put in a white floor thinking no one's ever gonna get color on it, just so you know. I still didn't wanna be the first one. Yeah, well, you are. It's official. I'm just gonna sign my name on that spot now. Yeah, it's on record. Yeah, I think that's good. So Lori's saying, are you saying rinse section by section in cold water? I think cool water is definitely, it doesn't have to be freezing cold. It's just cold water. Warm water opens the cuticle even more. So even talking to your clients about maybe not taking the hottest showers ever is probably a good idea. Another thought on this too is that this doesn't have to just be with fantasy color, like this technique that Danielle's doing, I like to transfer that into maybe using demicolor, gel-like colors that you can kind of slide into the hair, creating dimension and kind of talk about that a little bit. Absolutely. I believe there's a video that you did with Colin about zone toning. And that's a lot like what this is where you're just isolating certain areas and creating your own light and dark. So I love that concept. Yeah, me too. So we do as hairstylists, we get caught in that exact nature of, okay, this technique is to get this result. But as I keep saying, and I'll keep saying every week, learn it, master it, and then play with it. So my favorite saying from Pablo Picasso, I think everybody knows it at this point is learn the rules like a pro, so you can break them like an artist. Yeah, that's a good one. Yeah, so Karina real quick is, what shampoo brand do you recommend for those colors? So maybe if you wanna go into not even so much brand, just talk about like type maybe a little bit. I mean, you can say brand too, I don't care about. Like definitely the type, you know. All right, well, personally, I like anything that's moisture based. You have to be careful with that sometimes because certain brands, they put a lot of different humectants in their moisture lines. So make sure that it's not something that's protein rich. And again, sulfate free. The reason that I say make sure it's not protein rich is because they have a larger diameter. So when that's going into the hair, that's gonna displace the color molecule itself, which as I said, with the fantasy colors, that's only living on the surface of the hair. So you want things that are very, very gentle on the hair. So no clarifying shampoos. I usually like anything that is a color safe shampoo because they're sulfate free. They have lots of different little fancy technology to them now, I guess you could say. And they help to lock in those colors by shutting down that cuticle layer. Conditioners are also an important thing.  I always go in with a cream rinse. Cream rinses or detanglers are a lot finer in their slip and their texture. And then like, all right, I'll mention a brand because I love Paul Mitchell. I think that's obvious by now. I like the detangler from their line for sealing down a lot of my fashion colors because it's pH balanced.  But by balancing out that pH level, I know that it's gonna stay in the hair. It's not gonna fade into like funky spotty pieces. If the hair is overly dry, then I do like to go and use the hydramus spray just to plump that back up. And that way it's an even canvas, like it's not gonna grab dark in certain areas. Is the detangler pH balanced? From what I remember, it's a three, right? On the pH scale or is that not true? Well, your hair naturally is anywhere from like a 2.5 to a 5.5. Oh, okay, gotcha. So because it has like carrot oil, grape seed oil, it helps to just, like I said, even everything out, bring the pH down to normal, especially if the hair has been a little loved on by using lighteners and things like that. Yeah, people don't think about the fact that, you know, you're putting color over something that has, it's sitting at a different pH level, then you're gonna get different results, kind of like what you're saying. Like so some might take deeper, some might not take it all, some might not cover gray. Like, you know, there's a lot that goes into it more than just putting a color on it. Like we're taught in school, hey, throw 20 volume on, you'll cover gray. That's not, you know, like it's so much more than that.  It's true though. And I will always talk about that in every single class because what is with this blue? I don't know, but that one missed the four. Yes, that is true. And again, I am a klutz, I own up to this and it just kind of makes for conversation, I don't know, whatever. And okay, so again, this section is more horizontal and it's wider than all of my other sections. So what this is gonna do is it's going to just be a very, very light veil of the darker black root with those like tropical blue ends.  Wipe off my hands there and pick up my falling comrade. I'm just gonna leave this in the bowl so I don't hit that again. Let's see here. I love Lori's got the questions, I love it. Would you use the pH balancer before application? Yes, you can do that. It totally depends. If this is somebody you know, you've been working on, like with my client Erica, she is naturally curly. She's always putting some type of leaving conditioner in her hair and she's also a nature girl. So she's out in the sun. I know that I'm fine with just going straight in, putting a color right over her hair.  I mean, I wear contacts, I'm kind of used to that. Thank you. Okay, so now we're working on the left-hand corner here. And let's see, underneath, I've got the red and the blue section here and then next to that, I have blue. So I'm gonna go with yellow on this one. And I think this one, I'm actually gonna do the entire section of yellow instead of mixing that with another color. Reason I wanna do that is, again, so that that is gonna have little ribbons of color because seeing as how this section comes to a point right over here, that's gonna be almost like a baby light of yellow that's laying over the blue. So I'm gonna like how that mixes together. So that's why I'm saying that this is creative, but you're still thinking and you're still technical as you're working. So I think this is a good, Rebecca's saying, is this great for any type of hair? One thing I think we should pull into this is obviously most people are not coming in here with a perfectly one color canvas. So you either have to pre-lighten somebody if they want this color. Let's just say that most people don't want this color, right, but it's fun, it's creative for us and it showcases the ability to add depth in movement and thought process when it comes to putting in multiple colors like we talked about zone toning and all of that stuff, right, Danielle? So I want you guys to like take your mind there. Obviously, if you color somebody platinum and you wanna make them have these primary colors and put this through there, that's cool. But think more outside of the box in practical application of this is, you know, being able to use multiple toners and demi colors and not just throwing one color over everything and just imagine what you can create that way with browns or blondes or golds or coppers or reds, whatever it is, just imagine what you can do with this type of technique. Exactly. Is there any way you can get onto my Instagram because I do have someone that I did highlighting well, Balyage, TZ lights and foil highlighting and then zone toning on her. And that was in preparation for her having a baby so she knew she wasn't gonna be in for a long time. So yes, it was a lengthy visit, but it was phenomenal. And that lasted, I'd say the first six months of her pregnancy. I'll find you. I don't know. And I can't even say, oh, look at this date and this particular guests, I have literally been doing her hair since she was in high school. And now she is married, a mom of one and I did her hair, well, me and Brian did hair at her wedding. You can scroll down a little bit. Oh, she is way down there. Well, that's a good sign, you've been posting. I mean, this was a long ago. Oh, that's a way down. Oh, nope.  Where did she go? Okay, so on this side, I did red. Oh, Matt's looking for that. Oh, wait, we passed her. Okay, I'm not seeing it on there. I'm just gonna step over here and she should be up. I've seen her twice, but it's not the hair that I was thinking of. There she is. So in the green sweater. Right here. Yes. So she's an example of, like I said, we did a money piece with foil highlighting, then TZ lights, and then a little balayage in between so that we can get varying levels of blonde on her. And then I did zone toning. Can't say that I remember exactly what tones I was using. I know that they were all in the cool families. So like these A's and PAs. And I did that from like high point of the head was your lighter color and then middle section was your medium tone and then darker was underneath. So Jess, I have had the privilege of creating lots of different looks for her. So she's actually on there with a few different looks. We've even done like chopping our hair off, but that's just a great example of this technique of just thinking your way through it, but that's highlighting. But then the zone toning is the color melting. So that's what I mean by you don't have to just take this as, oh, I can only do this technique with fashion colors. And if you guys want to take a look at that on your own, there's Danielle's Instagram handle, so you can find her there. And then there is a lovely gray haired lady on there that I had done a fashion color. And I had a lot of fun with that one because it was actually with a water gun. Oh yeah, I remember this. Didn't we do that live on here once? Or did we just talk about it? I think we just talked about it. I'm about to get stabbed in the eye by my mic again. I know, it's a... I don't know. I got weird ears. All right, whatever. I'll take the pain for you guys, I don't care. Just talk out of your eye, that'll solve everything.  Okay, and again, this medium section. Middle section. We're going to saturate down to the middle of the hair shaft because I really wanna create a dark shadow right in this top section that overlays everything else so that it separates and we get those nice peaks of color that you saw in our pre-done here. And again, just painting down a little random couple of ribbons. Well, let's see, we've got blue right under that. We've got red next to it, yellow on the other side. So I think this one, I am going to do a tri-color. So yeah, I'll start off with blue. And if you wanted, you could even separate these sections if you wanted and change that up so that you can customize, again, what these colors are sitting next to. And now I'll do red right at the tip of the hair here. So Lori wants to talk about pricing real quick. My breakdown with pricing for you guys is she's saying most services are based on product used. I disagree. I think everybody should price based on time and understand what your business needs to stay open or to be profitable or whatever it is. You gotta assess that. So look at, this is obviously, you gotta look at, does she come in blonde already? Do you need to make her blonde first? So is it gonna take two hours? Is it gonna take four hours? Is it gonna take six hours? And then kind of base it on that and then do all of your pricing based on the amount of time that it takes for you to accomplish something. A haircut takes 45 minutes to an hour. It's gonna be priced one way. A color takes 45 minutes to an hour. It's, which usually doesn't happen. It's normally like an hour and a half, two hours. That's why a color costs more than a haircut in my opinion. So I would just like, do your guys, do yourselves a favor. If you do your own pricing, sit down, figure out what is realistic in your area and then also based on your rent and all of that, sit down and assess exactly what you need to be making per hour to have the lifestyle, the living that you want and is it realistic? And then price everything out like that. That way, you know exactly how much time you can assess. You can do a consultation with somebody. How long is their specific thing gonna take? And then you can quote them on that and not just saying, cause somebody that comes in has no hair that has really fine, low density hair is gonna take a lot less time than somebody comes in with a super thick, long head of hair. Could be the same service, but why would you price it the same? So don't think about necessarily just product usage. You gotta think about time and how that goes into it. Obviously product usage will go into that time. So that's how I always look at it. So we can't really quote that here, like what Danielle would charge for this. I don't even know, cause this isn't a realistic situation, but you know, if it would take her a few hours, then it would be based on whatever she costs over a few hours. And I totally agree with that. Sweet. Okay, so I have now moved into our front sections here. Now with this, I'm taking really large diagonal sections. So it's pretty much spanning the entire section itself. And again, I'm just going in blurring this line a little bit. I'll worry about the saturation of these mids once I get the other chosen color on there. So I have yellow behind that. So let's do a little yellow. And Lori, this is another thing, I think it's a good conversation, but you know, she's saying she sees transformations taking five hours and only charging $200. I would look at, you know, where I grew up in Illinois my whole life, you could have a house in your mortgage for 350 bucks, 400 bucks, maybe 500 bucks for a nice house a month, where I live now, $3,000, $4,000 a month for a mortgage. So it's subject to where you're located. Somebody could spend five hours and charge $200 and it's great. It's a great income. I couldn't spend five hours and charge $200. I wouldn't be able to pay for my home. So you have to base it on location. And I think it should be pretty easy at that point once you know, because your area is gonna already dictate what the pricing is for the most part to be able to do it, I don't know. But that's kind of where I'm at with it. Well, as I said before, with this, I was just going in and having fun and just making something up on a completely clean canvas. So no, we're not gonna have that scenario. Are you gonna have somebody that maybe they have blonde hair already and it's got a rooted look because it's grown in? Yeah, those are scenarios that we get. Do you have to do the entire head? Absolutely not. You can just do small ribbons of color. Yeah, imagine just doing a patch of this just to add a little bit of fun to it, just a couple of sections throughout. You could do that, add a little accent to a disconnection in your haircut. Really get creative with it, have fun with it. You don't have to do the whole head. Most people that want this couldn't afford it probably. You know what I mean, like I don't know, but I'm just a picturing younger clientele maybe, but not even anymore really. I don't know. I just sounded old. I'm older than you, so that's not making me feel real good. I just, like I just choked on my words. I just choked on my words. Oh well. That anything is possible. Have you not taught me that? That is true. All right then. People will pay you, like it is true. You know, I like to watch a lot of movies. So, I don't know if anybody has ever heard of the movie. It's kind of old. I am really aging myself here. It's Kevin Costner movie called. Kevin Costner, yes. Kevin Costner, Field of Dreams, Built It, and They Will Come. Yes. I was filmed in Iowa, you know. No, I did not know that. Yeah. I mean, that makes sense. There's a lot of fields there. There was. There was Children of the Corn, so. Oh jeez. No, we're not gonna talk about that. That movie freaked me out. Yeah. Yeah, like I was saying, it's one of those things that if fantasy colors and in-depth transformations are your thing, then yeah, go ahead and maybe do a couple of discounted ones where they're paying for the product in a little bit of your service time, so that way you made some money. But they are your billboard.  Who did that? And each personality of your guests, they're different, you can customize this. So I can't say it enough, have fun. Also, take the technique itself and think what else you can apply it to. You didn't get into this because you want people to tell you exactly what you, to do. You wanted a little bit of creative freedom when you got into hairdressing. Plus you wanted to make people feel good and fantasy colors, like I said, they are very, very empowering for a lot of people. Right on, all right, a couple of things we got. This one I love. I have 613 color extensions and wigs. Do-a-mo, do-a-mo. That's such an awesome thing. Like that's, I think that's super cool, like just being able to like switch it out.  That was actually another thing that I find cool about hair history. So Vidal Sassoon, back in the day in London, used to do these hairballs. And basically it would be showing off whatever were the new seasonal trends that were going on at the time.  They'd have it in a hotel. There would be people, you know, dressed up to the nines. And they would have their models come out. Depending on the theme, they could be in a carriage. They could be, you know, dressed up as a swan or something like that. One particular one that I loved was from, I believe it was like the 50s or 60s, where women, if you watch the show, the Marvelous Mrs. Maisel, and she's always got those matching hats, matching shoes, matching purse, just coordination to the nines. Well, at one point it was popular to match your outfit to your hair, your purse, and even your dog.  It's just a little pop of color to coordinate with their outfit. And I absolutely love that reel. That's an amazing thing. Right? Yeah. Like I said, I love hair. I watch a lot of different things. And I just like random information. So here's a special service announcement from Ed Combs. Ed, I appreciate you. I'm just gonna put this up on that thing because I do, I am aware of this. Somebody has created an account using my picture, my name, and my videos. And they've been posting them. And then they're asking people for bank account information that they won $1,000. That is not me. There's nothing I can do about it. I've told Facebook, but that's why typically they would verify an account so that they could show that the person is really the person, but they won't do that either. So I don't know what's going on with Facebook, but I apologize to anyone because there are people that have given their bank account information to these people. And I don't recommend that at all. If you win money, you never have to give your bank account information, guys. Social media 101. You do not, never need to give your bank account info, so don't do that to anybody. Yeah, I'm sorry about that. Yeah. So it's been going on for a few weeks now, but I don't know what else to do here. Oh, Carly. Carly's saying what's up, Danielle. She said you go, Daniel, actually. Hey, Carlton. I miss you, Carlton. Don't we all? She said her, she was supposed to have a Mohawk client today in her book and fantasy color on that, canceled. Rude. Rude. Very rude. How can we change hairdresser lack of passion or dedication in Australia? We have an industry here that has no specialty skills. What? Because I don't know. I maybe it's just the people that I know because like my mother's Welsh and whole family still lives over there. So I know quite a few hairdressers there. So if you're in Panarth, Wales, please check out Salon Blue. There you go. The blue girls are wonderful there. Anyway, so a lot of them, they had gone and done apprenticeships in Melbourne. And when I would look at their Instagram and one, the lifestyle alone is gorgeous, but their work was just amazing and truly organic. So I don't know. I kind of feel differently about that because there was a part of me that I was like, when can I go down under? Like their education was top notch. Yeah, I think people could say that about any place, you know, that there's lack of passion. I think this industry, I've seen it just, you know, we've been in it for a long time, but just it's easy to follow. If you don't stay educated and you don't stay current and you just repetitively do the same thing over and over again, the same clients, you keep your clients the same, you start getting into other things. Like I think what makes us different here is everybody that works here is that we're obsessed with this industry and we're obsessed with learning. So it's hard for the passion to run out. So I think you just need to find somebody that you can see their passion through their Instagram or through their online, you know, you're gonna see if they really truly love it. And that's everywhere. That's in the US, that's in Australia, that's in the UK, wherever it is. And just look for somebody that's constantly posting, she said, Brisbane is really, is very bad. We don't, I don't know on that one, but you can find passion guys. It's out there for sure, it's everywhere. It's in every small town, there's somebody that's probably doing cool hair you don't even know. So. Right. And you know, don't be afraid to just let somebody experiments a little. I was very lucky with my clientele in that the majority of the people that I have, I've been doing their hair a long time. So they kind of went on my hair journey with me, you know, going to, what was that? Paul Mitchell, the lab that was not far away from here and getting my teaching license when I said, all right, I'm gonna take the leap and I'm gonna become a Paul Mitchell educator.  I can't really afford education. So all right, they give free education. Not knowing that I was stepping into like the number one team. And yes, Matt was there. This was even before Hayden was born, his son. So like. Yeah, long time. It's been a long time. And most of my clients, oh yeah, they've been there with me through it. And they've let me try all kinds of things on their hair and some of them worked, some of them didn't. But I always was honest with them and I let them know like, okay, my bad, let me fix this or okay, that's wonderful. We're gonna write this down. We're gonna do this again. So taking ego out of it really does help. And these days with social media, social media to me is a wonderful thing. It really is. But when you find the right outlets and the right platform, I guess you could say that you're following, because some of them can be a little intimidating. And it's like, if you're not on a certain level, that's it, you're not part of the cool kids club. And that's what I love about free salon education is that we're a community. You know, we care about each other's growth. Like the virtual cutting club, I attend that every Monday. So I don't know if she's here, but shout out to Adele because she is there like every Monday and almost every live. She's cheering you on, she's on here. Hey Adele and Kristen Cobra, she's another one that she's almost like the welcoming committee for a lot of people. Yep, we got Lynn on here, Lynn's always there. Exactly, so like these are people that have gotten to know each other through this channel and site. And it's wonderful, I didn't have something like that when I got into hair, I wish that I had. Sometimes I think like how much more passionate could I have been? Like literally, sky is the limit when it comes to doing hair. You can do anything, it really is up to your motivation. And that doesn't mean that you have to be somebody that's gonna work at this major salon or travel the world. And there's nothing wrong with that because the joke has been that my handle, the hands-downs is because I don't like to talk.  It's a lot of responsibility to convey a really good message and a little bit of pressure when you're on that site.  You find what works for you. What's great and what so many people are learning about you just over the last two weeks and I see it through the chat is your, first off, you're way less nervous this week than last week. Even though I thought you did great last week. But your voice is good, it's coming through good and people are relating to your calmness. I'm probably in the middle, like Brian's probably the most extreme personality on here. And then you are probably the calmest personality on here. And then I think I sit in the middle. And so it's just fun. I see everybody commenting and chatting. It's just good to see the community building and being able to do this live every day. And so cool that you guys tune in every day and are getting to know each other. Danielle's saying all of you guys just building your friendships on here, it's really fun to see. So, Danielle, I want to give you a time check, it's 1.39. Okay, well good thing that we are on that last panel, I just needed a little bit more of our base. Danielle's got a client at two o'clock. She's in between, this was one of her clients for the day. Exactly. Ed's asking, it's Coom, sorry. I think I said Coom's earlier, but what is the brand of color you are using? Sorry I missed the beginning. I am using Pulmichile Pop XG and I am using Midnight and Bordeaux right at the root here right now and smudging that with my Cricut brush. That is really great for root smudges and shadow roots, especially when you're doing any type of toning right at the bowl on wet hair. What is the difference between that Cricut brush and like the Pulmichile Bolliyage brush? Well, the Pulmichile Bolliyage brush, it still has like a straighter line whereas this one is a little bit more like, where are we at, there we go. So that one is completely straight whereas this one is just like slightly serrated and that one's a soft bristle. So you can make it work with that. It's just that this one has like staggered bristles as well, so there's like two rows of really, really thick bristles. Whereas the Pulmichile one is like finer. So, again, your tools will also help with your work. So pay attention to what you're using and why and that's just how I came to that little conclusion and it really started with Christina bought it and I'm just curious and gave it a try and I'm like, ooh. Which is another great thing about working with people that are passionate because we get into these ruts where as Matt said, we will use the same techniques, we'll do, we just get bored and we'll use the same formulas for color and things like that and slowly but surely your client starts to look all alike. So one of the best things about working with a personality or person with personality like Brian is that he's always trying something new and then it'll be like, oh my God, this is gonna be scary at the bowl. Talking about like flash toners and things like that, he's like, it's gonna be so scary at the bowl but trust me, it's gonna be beautiful and he's right and I'm like, dang it. Why do I not just learn by now to just give it a try? So these are things that even I struggle with after all these years where I have to fight to not get set in my ways and to be lazy. So yes, I uprooted my life. I gave up my entire clientele. I went back to school so that I can get enough hours to transfer my license because above all, I will not be told no, I will make it happen. So I got my license, I came here and it's been great. I have gotten that passion back because at the salon that I was at, I was losing it and it had gotten to the point where physically I couldn't really do the education thing with Paul Mitchell anymore. But I've really missed those meetings, I missed the education, I missed the camaraderie and here I would get to teach again but I wouldn't have to travel. I mean, well, I travel here but not after next week. I know. So yeah, three and a half years later I'm now gonna become a new hope resident and I'm gonna have even more time to obsess about hair and what I'm gonna do on our next live. That's right. And we did talk about your next live. So we've been working prepping for it. So next week you'll be doing relaxer, right? Yes. Now I'm gonna be doing a lot of different things. So it'll be relaxers, it'll be natural styles, it'll be styles on straight, wavy. I kind of just like to be a jack of all trades and a master of none. I know I actually realized on my promotional flyer, we gotta make a new one for you anyways, but that it just said curly and styling and I should have put color and everything else for the most part on there, so. I put this thing, I really did put this on. You know what's funny though? I don't even know if it's your fault.  No, I'm upset with my small head. So I ordered a large microphone, it's coming in today. Yes, yes I do have a larger dome that makes it a little harder for me to find fitted hats. Yeah. But thankfully this is good enough that I can shave my head off and not really care. Well the bigger microphone comes today so, because Brian was struggling with it fitting his head. Well, the other problem being that I can move my ears. So unfortunately with the mask wearing and now with the microphones, that makes for things moving around and getting weird. Fun fact about me, if you wanted to know that. Oh, right? You took that leap of faith, that's right, it's all about. You know, you just sometimes you gotta give it up to the universe and let's see what shakes out. Okay, so now this section, I've got my red. And for this, I'm just gonna work that red through making sure that it's saturated roots in between. And now I'm gonna start working my way up to the roots. Now for this, I actually wanna go from yellow to red cause I don't wanna bring the red up higher. I actually wanna blend down. Cause when I did another mannequin for Matt, it was, I started to say it before, it was magenta and I was using yellow and when I dragged the magenta down into the yellow, it just made like this coral color, which was cool. But it's not what I wanted. So just keep that in mind when you're working.  Okay, and then just lightly blur that. Now with the top, I actually took larger sections but I'm still working on a diagonal. I'm just gonna turn this whole thing, that's easier. All right. So next, we are going to take another large diagonal section. Just gonna twist that hair off, lay that right against the side of the face there. I want to use now. And I'm just gonna do an entire red section here. Now with the top on the original, I did a lot more red cause I did want a somewhat more believable color to be the top veil for everything. And that way, the truly fun kind of, like I said, Jackson Pollock like painting that we did underneath is more of your peek-a-boo. So if you wanted, you could have even done like the top shadow root a little bit further out. And some of them I am gonna do that, but like I said, I wanted to see a lot more red at the top than anything else as a veil. And I know that I keep making this reference to Jackson Pollock. He was a famous painter that was known for his splatter painting. So he would literally just, and everybody's probably seen it at some point where he has taken color, splashed it along a canvas. He's painted, and he usually paints on the floor and he'll take a lot of different colors and make these amazing abstract designs. So as I said, I have a lot of eclectic interests, art being one of them. And I'm not a master at it and know all the differences and nuances, I just know what I like. So I can't wait for this summer and hopefully, God willing, we're gonna have the Van Gogh experience coming to New York. And then I'll get a little bit more inspiration for some fun colors and fun techniques to do. Yeah, I saw that, it looks super cool. Oh yeah. Like I said, at first I never understood when stylists would talk about taking inspiration from art and nature and things like that. But now that I've been in it for a little bit and have talked with a lot of different people about, as I said, pushing light and dark and using the colors that are next to it to kind of play off and push forward a color or a texture or something like that that you wanna see. So I really appreciate that. And Waheeda, see your question, are those permanent colors? They're not permanent colors. It's a Paul Mitchell Pop XG. It's a fantasy color semi-permanent. Yeah, semi-permanent color. So temporary.  Whereas when you're using the pastel colors, like for my one guest that I was talking about, Erica, she is a mature woman and a stylish mature woman at that. And we just do little ribbons of it. We don't do our whole head and it's something different every time and she loves it because it's maybe a three, four week commitment. And she's a very sociable person. She works with Holistic Medicine as a acupuncturist. And yeah, she has a lot of clients that come in and they love to see her hair. They say it's like the highlight of their day. So that gives me a good feeling as well as her. And it's not for everybody. You can have people that they will have a completely ugly response to it. Like, are you mad? Why would you do that? And it's like, cause I felt like it. And besides that, I do what I want. Hey, so got a little smudge on her there. I'm just gonna wipe that off.  That was very nice. Right, I think so.  So it diffuses the darker color. It diffuses as you pull it back. Okay, so we're onto our last two sections here. As I said, this was not something that it was like an easy project. It was, I had a cancellation, it's COVID. So I had time to play. Oh, and that's the other thing with keeping yourself passionate, keep playing with your mannequins. You know, that's how you find your best aha moments. You know? For sure, I was actually, I did a, with Ryan, we, he's the master of the balayage, I think on Instagram, I did his podcast on two days ago, maybe or yesterday. So we filmed it and I was talking to him about just like, people give me a hard time because I use mannequins all the time and I don't use real people very often. And for me, like when I work on a mannequin, it's to shut my mind off and focus on getting better. And when I, even if it's a model, I don't get the time to do that.  Like, and sometimes I'll cut half of a mannequin one day and then the other half another day just because, you know, when the passion's there, you just do it. And then, you know, if you have to do something else, you can do that. And then when you have it back the next day, like I just think it's always important to constantly be practicing with a purpose though. Like making sure that you're not just, like you can't practice when you have like, I have like seven or eight guys back to back right after this. I'm not gonna practice anything doing that. That's like game time, right? And I use this reference a lot, but like you practice for the game. So today's game time after this. And then, you know, when I'm sitting here and I'm trying to be creative and I'm trying to get better then I'll grab a mannequin and I'll spend time working on which section, focusing on how I'm holding it, all of that stuff, you know, that's how you get better is spending the time doing it. And then you'd be faster and all of that. So, you know, just grab a mannequin like Danielle is saying and don't even like, like Brian, like, so his Balayage mannequin, we just keep using it over and over again. We're just gonna keep doing it, like keep coloring it with a demi and then highlight it. And then color it with a demi and highlight it. Like you could do hundreds of hair colors techniques on one mannequin if you wanted to, you know, just keep reusing and keep practicing. Absolutely. All right, everybody's psyched to see your end result again because some people did not see it yet. All right, so our end results of this application that you see right here is this lovely gal. So what I was talking about before with that really great red that's overlaid on top and then everything else is just popped out. Now, Matt did a class where he had cut this. So obviously it's gotten the like supreme amount of professional care and loving. So he did a lot of like really great shattered layering that pops out all of these cool little colors and it's almost like graffiti in a way. So I love that. And as I said, I love impressionist art and abstract. So this is like, whoa for me. And, you know, again, have fun as then it can lead to something that even though this is a fashion color here, you can do this with regular color. You can do this with bleach. You can even combine a little couple of ribbons or blocks of fashion color to pop out what you've already got, even if it's just a little bit of a pastel. So I hope you all had fun today. That was super cool. But yeah, I thought it was super cool. Like the way that you said red, yellow and blue. But when you said it, I thought literal, like red, yellow and blue. And this is like, I love the tones. Cause until you just said that at the beginning of this class, I didn't realize that this was the red, yellow and blue mannequin that you were talking about. Yeah, cause at first I'm like, hey Matt. So this isn't actually a rainbow. I'm only using a couple of colors. And when you said you were gonna color red, yellow and blue, I think I looked at you like you had three heads problem. Yeah, cause I'm guessing that you probably imagined like block color and I mean, they are primary colors, but they're all blurred and we actually made secondary colors. So for any of you guys in school, this is how you can practice color theory too. That's right. That's right. Okay, so thank you guys for tuning in and going on my nice little painting color journey with me and tune in next week. Matt will be on on Tuesdays. Brian will be on on Wednesdays and I'll be on on Thursdays. Hey guys, we'll actually be live tomorrow too. Ergo's coming on with Ergonomics.  Best brushes ever. Yes, 3 p.m. Eastern Standard Time tomorrow. So make sure you guys tune in for that. And yeah, Danielle will be back next Thursday.  Super fun, so. Right, wherever you are in the world, stay safe and healthy. Bye. And go follow Danielle on Instagram. Thanks guys.


Clearly a big part of simplifying and of bringing things down to basics and in making our lives about something that is meaningful is this idea of focus. What does it mean to be focused? To remove things from our attention so that we only have a very select selection of things that are on our mind that receive our attention, receive our energy. Being focused with a very small number of carefully chosen targets of our energy and attention, we can put all of that energy and attention into those things and really pour it in to very specific things and of course the opposite of that being we spread our energy thin around a very large number of things so that we cannot put enough into each thing and we end up with poor results because there's not enough being given to any one thing in particular. So it's pretty straightforward to decide that of course focus is good. But what does it mean to be focused? Well I came to another one of those obvious points that seems very simple and obvious but just occurred to me for the first time and it's the idea that being focused on something is connected to the act of decision, deciding, choosing. To have focus we have to be decisive. To be focused on something we have to be choosing to be focused on it and choosing especially to not be paying attention to other things and that decision, every decision has a cost. There is an energy that goes into every decision and we can easily feel that, we can feel decision fatigue making many many small decisions that can lead to decision fatigue because every little one, every little time we have to make a choice, it calls on our faculties. We look at the situation, we evaluate the things that we consider are important and then we make a decision based on that. All of that takes energy. So the focus itself, to maintain focus, we have to be, we have to first decide this thing is worth focusing on. So choosing the thing to focus on, choosing that it should be a focus and not just something we happen to be working on right now until something better comes along, not something that's just filling in the time of course, but something that we have to choose is valuable enough to focus and dedicate our time to and especially from on the defensive fight to defend what we focus because the distractions are they just keep coming up and we have to defend against those distractions to continually renew the decision to focus and say, no, I'm thinking about that, no, I'm thinking about this, no, I'm thinking about this, no, this, no, this, continually renewing the focus and that is an act of will of decision. It is the opposite of the going with the flow feeling and the going with the flow approach and both of these approaches, I believe are a necessary part of life.  But of course, living too much in the go with the flow approach leads to very little getting done because we're simply and it because we're simply responding to our momentary feelings and also leads to a shallowness because there's a lack of focus. We are unable to put energy deeply into any one thing. And we instead are sort of lightly surface skimming through through all our time. So both of these sides, both of these approaches have their time in place. But when it comes to focus, we need to decide and apply that energy to say, no, this is what I'm going to think of. And then you just watch those distractions come up. Every possible stimulation from outside, people wanting our attention, advertising wanting on our attention, all sorts of automatic electronic signals are vying for our attention and then inside us, all the different feelings coming up, different hunger, thoughts that are interfering. Those are all constantly arising and constantly calling for our attention.  There's just so many demands on our attention surrounding us endlessly. So the focus to make that that tower of focus, to make that center, that calm center, the quiet center of focus from which we can do good work, we need to defend that perimeter, the perimeter of our attention against anything that comes up and decide, no, not now, because right now I am choosing to think of this thought and work on this task right now.


Let's go over a few tips and tricks in Bookmap. I've opened Bookmap in replay mode to demo these features. We'll start with a few quick navigation shortcut techniques. On the toolbar, you can use the plus minus magnifying glasses to zoom. However, you can also hover your mouse anywhere in the chart range area and zoom by scrolling with your center mouse wheel. This is an excellent method for quickly zooming in and out of your chart. This technique also works when using the move tool. Click on the move tool hand icon.  Now hover your mouse over a particular area of interest in the chart range area. Start scrolling with your center mouse wheel and you'll zoom into the area of interest. You can also zoom vertically. First, hover your mouse over the columns area. Note how your arrow cursor turns into a double-sided arrow. Now left click, hold, and drag your mouse up and down and you can zoom vertically. This is especially handy when large price swings reduce the columns text to a point where it no longer displays. To fix this, zoom in a little bit, then scroll vertically in the columns area. The text should reappear. You can also zoom horizontally. Hover your mouse over the horizontal timeline. Note how your arrow cursor turns into a double-sided arrow. Now left click, hold, and drag your mouse left and right and you can zoom horizontally. Let's go over a few tips and tricks with the data columns. You can move the columns to any position you desire. Hover your mouse over the column heading. Note that the column heading is highlighted in blue. Now left click, hold, and drag the column to reposition it in the area of your choice. You can drag the column within your column configuration or even move it to the left of the chart. You can even reposition the entire chart as well if you prefer. Let's set it back to its original state. If you'd like to adjust the width of all the columns, hover your mouse over the dividing line between the last column and the price ladder and your arrow cursor turns into a double-sided arrow. Left click, hold, and drag left and right to adjust the column width. If you'd like to adjust the width of an individual column, hover your mouse over the column's header dividing line. Then left click, hold, and drag. To duplicate a column with the exact same width and setting of another column, right click in the column of interest and select Insert Column. Note that to the right pops up a duplicated column with the same setting and width. Right click and choose a different data type of your choice. Let's move over to the vertical price timeline. This line divides the current market window with the best bid and offer from the historical chart range view.  Left click, hold, and drag and you can move the vertical timeline to create the amount of margin space you prefer. Now we'll go over a few keyboard shortcuts. Hit Ctrl-S and you'll take a screenshot of your chart. This is the same as clicking on the camera icon here. Let's say you have certain book map window open, like the configurations window. Just hit the Escape key to quickly close that window. Since I'm in book maps replay mode, I can press the space bar to pause the replayed recording and press it again to resume. When using the Move tool in drag mode, use the left and right arrows to advance the chart one pixel at a time. Hold Shift and use the arrows to advance the chart at 10 pixels at a time. Here's a handy trick. Right click in an empty space in the toolbar area. A drop-down menu appears. You have the options to bring up the main book map control window, reset the chart position, reset the chart settings, or inherit the chart settings from either another open chart window or search for a specific chart that you previously used. Once you select a chart, the settings from that chart will now display within your current chart. This is a quick way to allow you to view specific heat map and column settings. Most importantly, it allows you to quickly set up a new contract after expiration of the previous contract. One more extremely powerful feature. If you subscribe to book map quant features, you can zoom into the nanosecond level and see every single event that was recorded from the exchange. Go into drag mode and hover over an area of interest and begin scrolling with your center mouse wheel. You'll be amazed how you can drill down and see the order flow at the most granular level possible. This is an incredibly powerful feature and will allow you to see exactly what traded and when those trades took place. If you are interested in this feature, please reach out to us at info at voloxpro.com.


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Love you so much, can't wait to see you again, naked.       She then writes this email in front of me. I watched her fingers type it in the bed. Think about this for a second.  I watch fingers type it, minus the sex stuff, right? All I do is look at the screen.  I'm a germ freak as it is.   Cause he really wanted to talk to me.  He said, not only do they not use a condom, he's like, dude, we never even talked about it. Never even came up with a conversation. Which of course, right?


information of what Defamation of character man.  Defamation of character watch how the media handle you. Attempt to strip me from bliss. Can't wipe the smile on my child I'm glad that she don't know the guy to use Yeah, we on boss talk one-on-one Man this bottom up and done it man What's going on today man? No, I don't say nothing PMG in the building Check it out man.   Oh, thank God. What do I mean? I can't call the man what it do Yeah, what's up, baby? And that boy load easy in the house. I'm in this bed man And they're like what in that like swimwear could we begin now? You feel me man these niggas vets man You know I'm saying I you know, I can't even make these niggas nervous on the set. They've been on two minutes sets No nerves, no nerves in butterfly bingo man deformation of what? Defamation of character man.    You know how it be.  I? Mean like I said, I'm just giving them Jose. You know I'm saying I took time off You know I'm saying I let it I listen to everybody.  No niggas.  Nah, I wanted to give them me You know I put my evil twin on her I got a evil twin that's coming up in the streets You know I'm saying youngster he wanted the hardest niggas in the streets You know I'm saying but I wanted to give him like I said I wanted to give him that authentic bodega and this was my deformation of character. Yeah What's the youngster name man? Isn't that street classic deuce? You know I'm saying do say okay, I'm saying So this youngster right here What made you put him on there because that's a big deal man because you feel to put them spotlights on it boy Yeah, man, like I say shit, you know, we try to shine that light You know I'm saying we're gonna shine that light on the people that don't get it You know I'm saying like I say I represent the have nots You know I'm saying so I'm gonna put the light on the people that don't get to get light shed on them You know I'm saying yeah What what what do you think about the music like right now and I ask this to all y'all on the panel man like What do you think about the music right now so far in the Dallas area like? because it's Big extra plug they talk about you know, of course yellow that the yellow I don't even rate him in here because he already been around so long I hate to say that but that you know I'm saying he he had known artists throughout the world I'm talking with the new guys like what are you guys? What are you guys seeing that that y'all think I I?  You know I'm saying we ain't nothing wrong with showing love everywhere else But we got to give behind our own you know I'm saying and that's that's what we going off So that's why people kind of feel like the Dallas scene is falling, but they ain't listening Okay, I'm saying it starts with the fans. You know saying not calling it saying it like that But it starts with the consumer. Yeah, we on boss talk one on one


We're basing this haircut off of a center parting but if you had a guest with a side parting you could also do that as well just start off the haircut parting it on the side they wear it. Now we're going to create a V shape on the front fringe and basically the way that I determine how far I want that V to go is where do I want the bangs to stop. So I go all the way out to the edge of the eyebrow and then I braid that section down. You don't have to do this with your guest you could twist it up sometimes I braid a noise people if it's hanging right in front of their face but sometimes a braid works really well this section off hair instead of using a clip it's better for presentation. So what we're going to do is start diagonal back right off of that triangle so we're going to follow the head shape down I'm going to start creating that face frame so I cut my guide. I decide where I want those pieces to start following along her face then as I move along the head shape the head shape starts to move away from me so the key thing I want you guys to focus on on this cut as we work through it is that my elevation on the side of the head is going to change. I'm going to elevate more out away from the head towards the camera instead of just bringing it straight over the face. What that's going to do for me is it's going to create that elevation and create more of a lighter face frame for the guest so now that I'm moving in the back of the head you can see how high my elevation is compared to the beginning. If you rewind back to the beginning you can see that elevation was right in front of her face and then as I move to the back of the head I start to elevate much much higher to create that light feel. Now this works for clients that have a super heavy amount of density as you're working through the head shape but if they have really fine hair you don't have to elevate as high because you don't want to take out too much weight as well. Also in the front I grab my guide from a previously cut section so I just kind of pull a piece over from the opposite side and then I start cutting and I do the exact same thing we're mimicking the haircut on this side. The reason we're able to mimic the haircut is because it's parted in the center. If it was parted on one of the sides then I would definitely make sure to adjust my elevation based on the lower density side and the higher density side. I would do definite higher elevation on the higher density side or the side that you part over to. So now we're going to comb out that fringe area and we're going to grab one of my favorite tools. This is the carving comb from Donald Scott. I use the 100% carved side. This is available on freestyleneducation.com. It's the best $35 tool you'll ever buy. I'm using the wide tooth version of it and I just go through with the heavy stroke and create that broken fringe that I'm going to detail later in the dry cut. So then I add my brocato foam or brocato mousse to the to the haircut and I blow a dry. I'm using a flat wrap technique for the most part just kind of working the hair all the way around the head and keeping that nozzle aimed down. The reason you have shiny hair is because the cuticle lays nice and flat and it allows the sun to reflect off of it. So if you want to create shiny smooth hair you got to keep that nozzle and the air flowing over top of the hair. You don't want to rough it up too much. So then I go through use my brocato vibra straight iron. This is a really cool iron because it vibrates as it moves down the hair. So it creates less friction on the hair less damage which is one of my favorite things about that iron. So now I've got the hair all smoothed out prepped and ready to go for my dry cutting. This is the Mizetani 5.5 inch puff and scissor. We actually just did a class and had a lot of great people in the class and they were really excited about the puff and scissor. So this is a good showcase of what it does. The thing I love about having a dry cutting scissor is the fact that dry hair can mess up a scissor. So if you have your main scissor for precision cutting it's always good to have a dry cutting scissor. It's built to handle the dry hair so that you could see the thicker blade on it. It has more power and works and glides through the hair much better. The blade is also created to glide through the hair. So it's just a good tool to have to keep the life of your scissor but also have a smoother feel when you're going through and your slide cutting, point cutting like I'm doing, I'm taking those vertical sections. I'm just doing a nice deep parallel point cut. What that does is it doesn't take out a ton of weight but just softens the edges, softens the ends of the hair to make them lay really nice and soft in the haircut. I do a little bit of a kind of concave, I guess.  I like to cut the perimeter last for the most part and most haircuts because I don't like to determine the length and base the haircut off of the length that I created. I like to go in and create my layer length first because that's the most important part. Then at the very end, detail the baseline of the haircut. Now we're just going to do a slide cutting technique right through the face frame and in the fringe area. We did get a lot of texture from that Donald Scott carving comb. It was an easy way to quickly cut through the bangs. But now I just go through and detail them with the puff and scissor, half closing the scissor as I work my way down the hair. You could see that texture that really comes out of it. Finish it off with a little brocato hairspray and that is our finished look. I hope you guys like this video. I know it was short and sweet. Definitely watch it a couple of times. You'll pick up different things, but I hope you like it. Let me know in the comments below and thanks for watching.


Hello and welcome to this NCRM short video introducing you to spatial interaction modelling. My name is Andy Newing from the University of Leeds and I apply spatial interaction models in my own research and teaching. In this short video we're going to introduce you to these models and illustrate some of the ways that they can be used to support research where we're trying to model or estimate flow data of some form. In the accompanying online resources you can download a PDF document that gives you a chance to consider some of the concepts that we're working with in this short video. I'd suggest you download that PDF now and have a look at the example contained within. You'll see that that example introduces you to a hypothetical study area that contains nine small neighbourhoods or demand zones and three different retail stores and we could think of these as grocery stores, supermarkets that most of you probably use on a daily or weekly basis. The task gets you to think about where some of the consumers living in those zones are most likely to shop. I'd recommend that you pause this video now and take 10 to 15 minutes to work through that activity. Welcome back. Hopefully you've had a chance to work through that accompanying activity. It got you to think about some of the decisions that we need to make when we're trying to model or predict flows. In the example you were working with consumer flows, thinking about where people are most likely to shop for their groceries and actually underpinning that is essentially a spatial interaction model. The decisions that you've made are exactly the same decisions that we ask a spatial interaction model to make. As you thought through that activity you were probably thinking about a number of different concepts related to that application. You were thinking about the underlying demand in each one of those origin zones and in this case it was the money that people had to spend. You were trying to allocate that money to the different stores that people would shop in and in doing so you probably thought about how attractive each of those stores might be, recognising that some of those were larger than others. You probably thought about geographical proximity or accessibility, recognising that people might want to shop closer to where they live or perhaps where they work and crucially you recognised that this was complex because there was competition or intervening opportunities. Consumers were having to make a decision about where to shop based on a range of alternatives that may be suitable for them. By thinking about those four different things, demand, accessibility, attractiveness and competition, you've run your first spatial interaction model. You've decided how to apportion those flows or that spending across the different places that those consumers could visit. Will those spatial interaction models may seem complex when we start to look at the equations behind them, fundamentally it's doing no more than the decisions that you have just made. If you want to check the answers that you put down to some of those questions then you can also download the accompanying answer sheet which is part of the online resources to support this video. Spatial interaction is an important concept in geography and it's used to measure or predict flows between any particular set of origins and destinations. Those flows might be people as in the case of our consumers that we thought about there but they don't have to be. It could be flows of money or it could be flows of goods in an example to do with trade for example. But crucially this is capturing some sort of interaction between an origin and a destination and typically those origins as in the example you've used will be zonal. There'll be some sort of small neighbourhood or small zone that contains our population of interest or that's producing some sort of good that possibly is going to be transported to a whole range of destinations. Our destinations might be another set of zones. In the case of a commuting example we might be modelling the flow of people from the area in which they live to the area in which they work. But commonly our destinations are individual points. In the example that you've just looked at they were grocery stores but those points could be any form of service or facility, hospitals or schools for example. And in our model we denote these origins with the letter I and the destinations generally with the letter J. And so when we start to think about this in the form of an equation we're trying to model the flows between any particular origin I and any given destination J. So we're using our spatial interaction model to model those flows between any given origin and any given destination. And in mathematical terms when we write that down we're modelling a flow which we denote with the letter S from a given origin I to a given destination J. And because we have multiple origins and destinations in our model we're modelling lots of different Sijs. The flow from I1 to J1. Origin 1 to destination 1. From I1 to J2 that's our first origin to our second destination. And so on. Right the way through all of our different origins and destinations. And so if we think about this in the form of the example that you worked with earlier we've got 27 possible flows that we can model. That's the flow from every one of our nine origin or demand zones to every one of our three destination stores in this case. So we have 27 separate flows from an origin I to a destination J. And typically we think of this in the form of a matrix as you can see on the slide behind me. We think about these models as being organised generally with our origins down the left hand side and our destinations along the top. And that matrix in the middle is where we estimate our flows. So in our model if we think back to the example that we looked at earlier the flow that we're predicting between that origin zone I and a given destination J is going to be driven by a number of factors. It's going to be driven by the demand that's available in our origin zone. The amount of money in this case that people have to spend. And we know that we need to spread that money across the different destinations. It will be driven by the attractiveness of a given destination. It will also be driven by how accessible that destination is. And we know that we've got competition involved here. There are a number of competing destinations so it will depend on the relative attractiveness and the relative accessibility of that one destination versus all of the other destinations that that consumer could have visited. Now in verbal terms that's quite straightforward to understand particularly in the context of a retail example as we've been working with because they're the decisions that you make on a daily or weekly basis when you shop. So what we've just talked through there makes a lot of sense when we think about it in words because it's the sort of behaviours and decisions that we're making on a daily basis when we choose where to shop. But people often get daunted when we try and break down a spatial interaction model into its constituent form as an equation. What you can see behind me is the typical equation for a spatial interaction model of the form that we have just been talking about. It looks daunting because of some of the terms that are in here but it really doesn't need to. On the left hand side of that equals sign we've got our S i j. This is the thing that we are trying to predict. It's the flow in this case of money from our origin zone i to our destination j. That flow is proportional to everything that's on the right hand side of this equation. Now firstly it's driven by the amount of demand available in that origin zone. In this case we refer to that as O i, the demand in demand zone i. As we said it's also driven by some notion of attractiveness at the destination, in this case W j, the attractiveness of destination j. It's also driven by the accessibility of that destination and as we can see in the equation here it's inversely proportional to the distance, the D i j between our origin zone i and our destination j. We know that the flows will diminish with distance because in the case of a shopping example people want to shop close to home and the hardest one for many people to understand is our A i term and in the case of a retail model like this we would call that our competition factor and that reflects the fact that consumers are making this decision for a whole range of competing destinations. Now this A i term is really important in the model. It makes the model balance and it takes account of the fact that consumers have a number of opportunities to shop and a number of different destinations at which they could do so and so hopefully what we've just talked through there gives you the idea that this simple example that you can see behind you can be broken down into an equation that can be used to build these models using other software. So although that example is intuitively straightforward it's worth acknowledging that spatial interaction models are actually really powerful models that can be used to model flows in a whole range of different contexts. An underpinning this model is a mathematical relationship which accounts for those observed flows and we can use that mathematical relationship in an applied context to estimate missing data in a matrix of this form or to predict things going forward if we were to make some sort of change either at the origin or at the destination and in the retail context that often involves changing either the amount of demand available or more commonly changing something on the supply side, closing stores or adding in new stores and thinking about how the consumer behaviours may change as a result of that. Now spatial interaction models have had quite a long history particularly in geography and the social sciences. They were initially based on Newtonian analogies and were termed gravity models using the terminology that was borrowed from physics. But in a human context those models really lacked some of the justification in their handling of human behaviour and it was really in the late 1920s with Riley's law of retail gravitation that we started to think about how these models could be applied to human related problems and in his case it was understanding the probability of a consumer shopping at a particular retail centre based on its trade area or its gravity, its ability to pull in consumers. But it was really work by Sir Allen Wilson now of the Turing Institute who operationalised these models in a human context particularly in the fields of geography and urban planning. Sir Allen recognised that these models did lack some of the justification needed for handling human behaviour and he recognised that using entropy maximisation, a technique from statistical mechanics that these models could have a better theoretical justification in their human applications and it was really his work that introduced the term spatial interaction model moving away from that cruder gravity model approach but in industry we still find these models referred to quite frequently as gravity models. So using this entropy maximisation approach Sir Allen started to apply these models in other fields particularly in transport planning and as a result of that work they were applied more widely across urban planning and that's really where this model started to take on its role as a location model and got picked up by the commercial sector where it's now applied very widely to make location-based decisions particularly in the retail sector in the context of the example that we looked at earlier. Sir Allen proposed a family of four variants of the spatial interaction model which reflected four different contexts that you may wish to capture. Those four variants of the model have different constraints applied to them reflecting either the demand side which he called the production side of the model or the destinations which he called the attraction side of the model and those constraints are used to constrain the values that the modelled flows can take based on known information that we put into the model and that we use at the model calibration stage. The first variant of the model is the production attraction constrained and this is used in a context where we know a lot of information about both the demand and the supply side. In this case the production side or the origin totals are known as are the destination or attraction side totals the bits that are shaded in green in the example that's behind me. In this case the modelled flows that go into the centre of that matrix have to conform to all of the known information that's highlighted in green so this would be used in a situation where we know our marginal totals but we need to predict the flows that contribute to those. The opposite of that scenario is our unconstrained model where we have no constraints in our model. We don't know any of our origin or destination totals and so the values that go into that matrix as predicted by our model are unconstrained. We have no known information that we can use to influence and to constrain those flows. More commonly we might use an attraction or a production constrained model. The attraction constrained model that you can see behind me now knows something about the destination totals but it doesn't know the information for the origins and so the flows in that model are constrained by our totals at the attraction side of the model the bit highlighted in green behind me. The retail example that you've been looking at as part of the accompanying online resources is a production constrained version of the model. In this case we know a lot about the origin side of the model. We know how much money is available to spend in each of those demand zones and so in our model our totals on the production side are constrained. The modelled flows have to correspond with what we know about those origin totals and so the cells highlighted in green behind me are those that we would use as part of our model calibration process and we would expect the flows that are modelled in that matrix to conform with that information that we know about our origin totals. So hopefully that whistle stop tour of the different variants of the sim has given you an idea of how it could be applied as quite a versatile model in a number of different contexts that you may be working in. These models can appear complex at first particularly when you see them in equation form but hopefully by thinking about that retail example you've seen that once the basics make sense they can actually be quite straightforward. In this short overview we've had to gloss over a number of important points but hopefully you can use the accompanying reading list and suggested papers to enhance your knowledge particularly in your own application areas. I particularly highlight the paper that you can see behind me at the moment as a very good introduction to these models that's written in an accessible style originally written in fact for A level students when these models were part of the curriculum. I'd just like to finish by pointing out that the spatial interaction model has become one of geography and social sciences most successful applications particularly in the commercial sector and so please don't be put off by the terminology or the equations behind these models they are robust and reliable tools that have been used to make a number of commercial sector decisions and I hope that you enjoy starting working with them.


And when you started off at Profitveals, and I guess you wanted to connect at Tick with Martick to make them both efficient, so how successful you have been so far in doing so. Yeah, so I tell you my story with Denso, right? So I sold to Denso in 2012. Once I sold it in 2012, there was this five years on out where they buy your company for a period of time, and digitally grew, like we almost moved 15x in those days. So we had a great on out. Then what happened was I spoke to Ashish who was CEO then, like what are the things I should do next? So you can build a performance group. So we acquired a few companies like SVG, Socrating, Merkur, et cetera. And we were able to build, I think the performance group of Denso was five exercise of most of the groups. We were almost 2000 people by the time I left. And how I left was very interesting. Middle of COVID, July 2020, I was writing a book on happiness, which is now getting published in the next few months. Profit wheel has taken over all my time because of which the book has been delayed, but the book is complete. And one line, the book is called happiness is a muscle. I wrote a line in the night that says happiness comes in the growth phase. It does not come in the phase of stagnation. Next morning I quit Denso. I said I'm stagnating in Denso. And I wanted to build a company along with two co-founders, Aman Khanna and Gautam Mehra, where the whole focus was that this company should allow us to build a SaaS platform for at that point in time connecting ad-tech to Matic, but over a period of time we realized that there is a bigger space for consumer intelligence. So what we've taken to build is a consumer intelligence platform. It is focused on large enterprises. We work with 1,400 companies in the US who invest about $25,000 a month with us on the platform. In India also we work with ICJ Bank, Mirage Auto and some of the clients who are again paying $10,000 and $25,000 eventually for the platform. But what we do is we are creating a consumer intelligence platform for large enterprises. So most companies know a lot about their customers based on what the customer transactions.


The BioWomen Philippines, led me to begin by expressing my immense gratitude to the Department of Foreign Affairs for partnering with us this year to make this anything probably the best event that we've held so far in the Philippines. Over the years, films have been used to inform, entertain, educate and promote the debate. It is in the spirit that IWEN, the UN Migration Agency, has launched a global migration film festival and this is now the biggest migration film festival in the food world. Most of you here tonight are migrants born several hours in the Philippines or in another country. So let us celebrate yourself and your own migration story. Speaking of which, we are particularly proud this evening to showcase Migrate Story Campaign. This evening we are highlighting beautiful stories of real people on the move. With IWEN's Migrate Story Campaign, we are reminded that migrants are already very much apart of our lives. Too often, when we speak of migrants, we find ourselves caught speaking about moments of extreme hardship, caught up in a narrative of a crisis. But today let us also remember the International Migrants Day as a day set offside by the United Nations to celebrate migrants and recognize the overwhelmingly positive contributions that migrants make to society. Here in the Philippines, where many of us continue to be the greatest contributor to the country's GDP, migrants bring innovation and embody entrepreneurial spirit. This year, IWEN has chosen to focus the theme on social pollution and recognition not just of migrants but also of communities in which they can and do for us. The communities that thrive are those that embrace and adapt. IWEN's message this year is whether we are living, working, loving or building, we do so together.


To be part of student association board as a vice chairperson, it is an amazing experience because you become voice of the student. It all started with my discussion with senior participants when they spoke about what was their responsibilities, how they took up different activities in academic year. So, they pushed me in taking up this role of vice chairperson and I wanted to be a voice of student, take some responsibilities and do some activities for them so that they are also happy with the academic. Few of the activities are social evenings, sports events. We also represented IT in the international sports event which recently happened in Rotterdam. Few of the social evenings like African night, Euro American night and which is coming up is Asian nights. So, we coordinate with most of the students to arrange such social evenings and apart from that there is new students batch which is coming in October. So, we also coordinate with social culture officers and arrange students to go pick them up, guide them. We also try to connect senior participants with their own, the participants who are coming from their own countries so that it is easy for them to communicate and it is their first step in DELF. So, we want to welcome them in a welcoming way. We are planning something on it.