Hey, welcome back to another episode of the non-profit show. We're really excited because you know what this means, Friday, and we are here with one of our favorites, Mujiquaja, one of the intrepid, I'm going to call you an intrepid trainer from Fundraising Academy. And I think more interestingly enough, co-founder of American Muslim Community Foundation, which if you ever get a chance to go back to our archive and watch or listen to the episode that we did with Mujiquaja, specifically about his work with the Community Foundation, how he started, the element of faith and fundraising, faith and giving. It was Mujiquaja, one of my top 10 favorites and we've done over a thousand shows, my friend. That's awesome. Thank you. So that's saying a lot. That's like amazing. But anyway, Mujiquaja is here today. Again, we want to make sure that we give our gratitude to all of our presenting sponsors. They include Bloomerang, American Non-Profit Academy, Non-Profit Thought Leader, Staffing Boutique, Your Part-Time Controller, 180 Management Group, Fundraising Academy at National University, JMT Consulting, Non-Profit Nerd, and Non-Profit Tech Talk. These are the folks that join us day in and day out. We're doing some new things that are really exciting. We formed a national panel of experts that are going to serve as co-host. So you're going to see more people, more voices. These folks are from around the country, so they'll bring not only their knowledge but their regional knowledge, right? Because we do things differently in different parts of the country. And so you can really be learning from even more people as we navigate our fifth year and more than 1,000 shows. Okay, Mujiquaja, city withhold. I got a woman up and Candace left this message, but I took off the city because I didn't want, sometimes I do that because I want to kind of protect the person that is asking questions. And the question is this, I've been asked to meet with one of our large donors and his trust advisor. I don't know if I should bring someone else along to the meeting or not. I'm a bit concerned that the trust advisor will need some legal questions answered. Super interesting. I bet you've had this with the Community Foundation. Sure. Candace, this is a great question and an opportunity to look into your advisors or board members and diversifying the skill set because you can possibly find an estate planning lawyer who would be able to help in these types of situations. And if you can't add them on to your advisory council or a board, if you don't have a plant giving officer on the team, trying to bring an additional teammate could be helpful. But don't ever fear of being able to say, you know, I'm going to have to ask our team and I'll get back to you. So feel free to take the meeting, be empowered, do your best. And if you don't have the capacity to bring somebody on with the skill set, then do that. And the last thing I would say is there may be a local law firm that can provide pro bono services as well. Super smart. So you do see this as probably that estate planning conversation, that that's the direction that this is probably going, right? Yeah, you know, if they have a trust, they have amassed a certain level of wealth or are financially savvy and learning the tricks of avoiding taxes. And if they want to know the best way to give or if the organization has different policies for gifts coming from trust, it might be a little more complex. How often in your career have you had this come up? And then you've had to, I love your advice, you know, say, I don't know, but I'll get back to you. I mean, at this point in your career, do you still have to do that? Or is that just something that we have to, we have to own and just say, we're not going to know everything, but we can run it down. We can research or like, do you know what I'm trying to say is like, yeah, it's how will that go? It's still one of my favorite answers, even if I know the question just to buy myself time. Oh, I have to run that by my board. Or, you know, when I was at Red Cross, it was definitely a larger institution and there were certain layers of, you know, not red tape, essentially, but just certain layers that you have to run things by a director, a chief development officer, somebody on the national team, somebody on the corporate team that deals with something. So when there are more layers involved, you may need to have that buffer of time. So definitely when I was at Red Cross, it was perhaps a little more common and would meet with high net worth individuals that wanted to do a gift a certain way or at a certain time. But at American Muslim Community Foundation, I still like to use that. You know, I need to get back to you and it buys me time to clear my mind, think through it, chat with a board member for their advice and then get back to the donor, even if I already know what answer I want to give. So strategically, though, I'm just thinking ahead, is this a mechanism to get an additional meeting? Definitely. Yeah, even if it's a follow up over email or a phone call or another touch point to give the donor more confidence, right? So it's better than saying, I don't know. What's better to say is I have to run that by some of my other colleagues, they'll be able to make a better informed decision. Or even if you want to say, I don't know, I think the donor would appreciate you saying, I don't know, rather than making something up. Yeah, well, you want to be accurate. And especially when you're bringing in, you know, an advisor or somebody who's going to probably, if this is a, you know, trust or the quest kind of situation, you're going to have to be working with that person. Because if the donor passes, and then the management of the stewardship goes to somebody else, right? This is a relationship that's not going to go away, chances are. Maybe they want to add your organization as a beneficiary or distribute a one-time large lump sum or come up with a pledge. Like, so there are other factors involved that you would have to consider of how your organization does your accounting. Do you book it all in this calendar year or following so on and so forth? Gotcha.  No two situations are the same.  I mean, is that fair to say in your experience? Definitely. Yeah, every situation is different. And even if you think you've seen it all before, you'll surprise yourself. I love it. Well, let's go on to our next surprise because this is an interesting question. I keep hearing the term cause selling. When I use it with my board, they seem confused. How do I explain the concept so that they buy in to the process that our development staff is using? Overland Park. One thing I will say about Overland Park is AMCF has several donors from there and I've never been. So I would love to visit name withheld. So invite me out. And in terms of cause selling, you know, the name could be off-putting to some of the board members if they're development traditionalists and say, you know, we're not really trying to sell the cause, but we want to, you know, sell the mission or, you know, we want to be relationship centric. But that's really what cause selling is all about. So if you look at the cause selling basics and the fundamentals of fundraising that are listed in the textbook through Fundraising Academy, you will see that, you know, it's all about relationship driven strategies to improve your cultivation and stewardship and solicitation. So I would start there. I would look at the tidbits. I would share our portal that has hundreds and dozens of resources for you regularly available all free. So that might be a good way to share more about the cause selling cycle by engaging in the free online portal. You know, Louie, I think it to me, this is like a bigger issue in that in all my board service over pretty much four decades of my life, I've only had one board where they spent time on Fundraising 101, Fundraising 101 even, you know, it's, it seems like we, we don't, we don't feel like it's appropriate or we don't want to take the time. I don't know why, but we don't ever seem to train our boards in what this process is. And yet the boards are like, you know, raise money, raise money, raise money.  And I don't know why there's like this disconnect. Because I think if you just said what you said to any board, 1.8 million nonprofits registered in this country, a lot of them would be like, what?  But I didn't think there was like a plan or I didn't think that there was a structure. I mean, why do you think there's such a disconnect between these two very real things that have to get done at the end of the day in order for a nonprofit to survive? Some of it could be the mentality of I'm donating my time and expertise. Other organizations that have been part of it has been, you know, I'm doing this as a favor to the founder or I'm, you know, this, that, the other. I've been looking at how to build and create that culture of philanthropy for some of my clients as well at their organizations and it's hard. You know, each organization, I often ask them to think of their why and go back to why are you on the board? What's your connection to the organization? Some of these prospecting questions that we talk about, right? Why did you first give to the organization? How are you connected? What's your story? How does the mission speak to you? These are things that we should be asking the board members as well and really getting them to think about their why. Yeah, I love that and man, I think what you just said is magical. We are not doing that enough and I think when we don't, I love that this person writes my board seems confused. You know, that's to me like a pretty big level of confusion, right? I mean, this should be something that they're in on. Whether they're like sitting down or, you know, pursuing donors themselves, they should be understanding what the process is so they can at least support that development team. It seems like it's, I don't think, I know that name withheld is, this is stressful, but I think this is going on across America big time, big time, you know. And when you said that 1.8 million nonprofits, I just thought to myself there's four and a half to five million board members then like that's minimum, right? So that's wild that there are millions of people serving on boards and how can we more effectively build stronger boards and build stronger organizations and that's one of the reasons why I love being at Fundraising Academy because we can provide some of these fundraising best practices to these organizations. Yeah, it's really an interesting thing. And you know, I think for me when I think about it, I mean, these are people that really from their heart want to do well, right? They want to do right by their organization, but they're kind of hogtied by knowledge and training and they don't know. And in the for-profit sector and how they live their lives and their work-a-day world is pretty different than how it works. And sometimes just by time, you know, they'll join the board meetings, but outside of that they can't do much else or even they struggle to make the board meetings. So yeah. Well, good question and really interesting feedback from Muhy. Okay, let's go to another interestingly enough board question. This comes to us from Ramon in Miami and he writes, we are trying to determine the number of board meetings we schedule for the 2025 calendar. Yes, we're starting on this early. I applaud you. Yay team. This is great. How do you feel about board meetings held quarterly versus monthly? Yeah, I mean, just thinking to the last point I made about board time and, you know, that being a significant asset, you know, you definitely need core board members that are putting in their work. And then there are others that are maybe experts in certain areas and maybe they're better as advisory council or ad hoc members. But when it comes to a president, a vice president, a secretary, a treasurer, those are maybe some of your core people that should be meeting more regularly in a committee. So I've seen quarterly meetings work for some organizations that maybe have a longer standing healthier, stronger organization. But even at AMCF, we're monthly. And sometimes it's a struggle to do that. But I would think that if your committees are meeting monthly or biweekly, then maybe your entire board doesn't need to meet monthly. Because then it's, you know, very, you know, maybe they're committed to giving three to five hours a month only. But how can they do more than that? Or do they have capacity to do more than that? So that's something upfront before we recruit a board member. We're very clear of what our monthly timeframe and expectations are between committee meetings and board meetings. Right. I love hearing you say that because I don't think enough organizations do that. Yeah. And there's a board orientation. There's a board disclosure. There's a conflict of interest. There's other forms that they are signing a contract for saying that they can try to do this for three years at a minimum. So, you know, it is a significant commitment that board members make.  Every other month, you know, if it's not monthly, then why not every two months? Yeah, I like that. Now, I have not heard, that's, I like that a lot. I think that's a good, and that's a really meat in the middle kind of place. I've got another question for you before we go on. Are you seeing, I'll tell you, I'm seeing the diminishment of executive committees. We used to have like a stronger, it seems to me, a stronger management group. Like you said, we need a core group of leaders, but we used to put those more in like an executive committee, and they would meet, you know, frequently, sometimes, you know, during, during different times of the year, maybe twice a month or whatever, and then kind of roll things up to the main board. Are you seeing that? Because it's kind of somewhat falling out of favor, it seems like to me. Yeah, I think it depends on what size of a board you have, right? AIMS staff, we only have six board members, and there's only two general members and four leadership positions, but we also have monthly meetings. So everybody's kind of in that same tune, but I could see an executive committee being useful if the board meetings are less frequent, then they are touching bays at least more frequently. Yeah, it's very interesting. Well, Ramon, no matter what happens, yay team on getting the 2025 calendar set. I love hearing that, and the reality is it's right around the corner. So, okay, again, another board question. This is kind of an interesting one. Can you explain the difference between board dues and a board member give or get policy? I'm a new board member of a nonprofit and I don't quite understand the difference. Jacob from Houston, Texas. You know, when I hear you say that, there's board dues and board don'ts, right? But when it comes to board dues, I would say that it's, in my understanding, pretty similar to a board give or get policy. But board dues may be more old school in the sense that traditionally, if people are paying to be on the board, you know, that to me would be a no-no, but you want it to be more of the sense that they're giving and want to philanthropically be there as opposed to a membership that they're paying to be on the board. So, whether it's a chamber of commerce, that might be more board doozy than a board member give or get policy. So that's just my understanding of it, but maybe some of your insight will make me think differently. Yeah, so I have a different take on this, and I love, for those of you listening and not necessarily watching, it's D-U-E-S. Yeah, you're right. Do's and don'ts. Do's, for me, are the funding mechanism for conducting the meeting. So board do's might be, you know, a hundred bucks a year or something. And so that might pay for a board management portal. It might pay for meals. It might pay for travel or if you have to rent a room to, you know, have a board meeting or something like that. It's a minimal amount, generally, because it's just funding the actual goings-ons of that board, right?  You know, I mean, and I have heard of organizations that do that. I have not been on a board that does that, but yeah. But the give or get is a really, it's becoming controversial, or I guess maybe it always has. And that is that there is a number, and generally it's in the thousands of dollars.  So that gift might come from your company. It might be that you held an event. It might be that you got, you know, building relationships and worked with somebody to get them to, you know, make a commitment. So it puts that board member more into the role of a fundraiser. And I don't know about you, but I've seen where board members that have given get, give or get, go after, you know, not maliciously, not maliciously, but they go after a relationship that's already being stewarded by the organization.  I think, you know, portfolio management, I would be a fan of giving board members a portfolio of their own network. And if you do include some people from your, you know, donor base, that's fine. They're writing the thank you letters, they're doing that time over time. So I can see how it can get hairy in the give or get. But I think it's a good idea, even if it's only 15 to 20 donors to give board members a small portfolio. Okay. Mind blown. I've never heard of that, but I love it. That's genius because, you know, to me and my mind, Muki, it also gets them in the process to see what everybody's doing. I love that. Okay. That's like my huge takeaway for today. Thank you. We talk all the time about having board members do phone calls, having board members write thank yous, but why not take it a step further? Yeah, that's super cool. You know, I, I served a lot, you know, in my community as a volunteer and, and even a board member before I really understood what the portfolio system was like and how it functioned because that wasn't brought into my knowledge, right? I think sometimes it seems like it's a little secretive and or maybe that was just me, but yeah. Well, this I love, I love love love. I'm going to totally, totally be thinking about that all weekend. Another thing I want to think about this weekend is that cultivate has sold out. What the heck? Yeah. No, we're super stoked. You know, a month out from the program, we're sold out. Last year, we did sell out, but it was closer to the date. So there's a wait list. So I will say if you were planning on it, you can still sign up for the wait list. That's obviously free. And then if attendees let us know they can't attend, we'll move the people on the wait list off. So yeah, looking forward to it though. It's going to be good. Well, I got a man up and tell you that I had somebody call me and say, Hey, they're sold out.  And I was like, you know, I'll make that call, but they're sold out. So this is like a function of space. And it's like legit. You can't just, it's not a fake thing, right? I mean, a lot of planning has gone into it. So yeah, I mean, best thing to do would be get on that wait list. Yeah. Okay. Oh my gosh. Well, yay team for fundraising academy to do this. This is a huge thing. People are still trying to get back into, you know, having events and gathering.  And so that's exciting. Well, good. Well, congratulations and congratulations to the fundraising academy team. I knew that you would sell out because you had last year, but I didn't think it would be this soon. So, wow. Good news. Yeah, really good news. Really good news. Well, Mohi Kuwaja, trainer at Fundraising Academy, also the co-founder of the American Muslim Community Foundation. Check out Fundraising Academy's amazing, amazing resources at fundraising-academy.org. And you can learn about all the different things that they're doing. And maybe get on that waiting list. I'm just saying. But it's pretty, pretty powerful. Mohi, I always love spending time with you. You always teach me something new. You give me a different point of view. And so thank you. Thank you. Thank you for being a part of this conversation today. Really been interesting. Yeah. Hey, again, thanking our presenting sponsors, and they include Blue Morang, American Nonprofit Academy, Nonprofit Thought Leader, Staffing Boutique, Your Part-Time Controller, 180 Management Group, Fundraising Academy, JMT Consulting, and Nonprofit Tech Talk. You know, these are the folks that join us day in and day out, and they really make a difference in all of our communities. So we want to say thank you. All right. You know what I'm going to say as we end every episode, Mohi? We leave with this message, and that is to stay well, so you can do well. We'll see you back here again next time. Thank you so much, Mohi. Thanks. Bye.


What is going on guys? It's your boy DPGA here today with another Destiny video and in today's Destiny video we're going to check out what Zer has brought to the tower on the 7th of August 2015. Now if you guys are new to Destiny and you do not know who Zer is, Zer is a vendor who visits the tower from my Friday morning and leaves on a Sunday morning and with him he brings along exotic items which you can trade for strange coins and moats of light. Now this week he's located to the left of the tower so once you're spawning you just want to head far left and you'll see him right here so let's just see what he has this week. Let's give him a little tea bag first. Give me something I need. Give me something I need. There we go!   Okay so we have the Eternal Warrior for the Titan. This will cost you 13 strange coins offering 56 intellect and 75 discipline, more super energy from non-guardian kills, replenish health when you pick up a knob, provides unstoppable for feast of havoc.     Muds are KMO for heavy weapons and upgrades double jump with an additional jump and offers 151 discipline. Bad ass!   Okay for the warlock he will avoid van vestments. These will offer 159 strength. Muds are Axian Bolt or enhanced Axian Bolt spawned with grenade energy, KMO for hand cannons and KMO for special weapons. These will also cost you 13 strange coins. Weapon of the week we have the last word. A beast of a hand cannon in that PvP really is. If you don't own this bad boy be sure to buy this motherfucker. It's as simple as that. We have an exotic shard used to upgrade your pre-existing exotic armors and weapons and we have an exotic chest and gram-craft in 23 moats of light. Your bodies take it to the coup d'etat and hopefully get something you need out of it. But guys that is what it has brought on the 7th of August 2015. Great week in my opinion. Motherfuckers going back to that vault to get them strange coins to buy the bones of the E80. But guys hope you enjoyed the video. Tell me if he's brought anything you need down below in that comment section. Thanks for stopping by as always and I'll catch you on the next one. Peace out until next time. Peace!


for building the sound. So you're in the, I think, the only recursively titled talk for this week. It also happens to be a design talk. So we're into idiosyncrasies here. My name's Mason Wendell. I'm the jazz mess, apparently, today. I am a senior developer at phase two, just started recently and I'm very excited about that. Hey, here you go. Better here? OK, I'll stay right here. I'm not dance too much. I'm coding designer on the internet and everywhere that I am. I've got a website and I am an organizer of a couple of meetups in Philadelphia where I live, the SAS meetup and the RWD meetup. And they're cool. So this presentation is online. It's at codingdesigner.github.io slash box. Please feel free to check it out now or later. And I expect there will be bugs. I'm using, I got very excited about this. I'm using a lot of techniques that aren't in the public Chrome. So cool things that may break in regular Chrome. So I'm going to iron those out pretty soon and make this a little bit more robust publicly. So a little bit about me to set up our context here. I'm a music nerd. I went to Berkeley College of Music, which is a school that only taught music, as you might expect. While I was there, I learned really deep music theory, jazz and classical composition, and just insanely, intensely studied how to play the bass. And then, as that's a professional trade school, I use that specialized knowledge to play avant-garde noise and weird punk rock and indie pop, getting more and more commercial, I think, as I went, oddly. So yeah, I agree, total waste of money. But there are a couple of things that I wanted to mention, the reason I bring that up, that came out of my music education. And one, as I wound up finding my passion, not as a professional musician, but as in web design. And in getting there, I discovered that little bits and pieces of this music education were really relevant to my work as a designer. Actually, it took me years to really put my finger on why I felt that way, it's kind of a feeling. But the second thing is that the jazz musicians who came up in the 40s and the 60s, they're cool. And not just Fonzie Cool, but these dudes had to work at it. It's not just bang the thing and they just studied. They are geniuses, but they studied really hard. And they made an art and a feeling that flawlessly hid the intense amount of work and craft that goes into making it. I think that feels familiar to a lot of designers and a lot of web professionals. At least I know I've met a lot that share music background. So I've been designing since like 95, but I've been designing in the browser since 2009. And I'm not opposed to Photoshop. It's a good tool for what it does. I'm not going to rant against Photoshop, I promise. But I make web things. So I use CSS. It's my primary creative tool. It works out great because as I make web things, CSS is native to the medium that I work in. Because I'm doing this work in the browser, it makes sense to also present in the browser. And this is really helpful because it gives clients all the context they need in order to make the crucial decisions about the work that they're hiring somebody to actually create for them. Compare that to a piece of paper printout of design, which I unfortunately have seen used as a decision-making tool way too many times to count. And I think that there's a pretty inescapable argument for keeping things on the screen where they're meant to be. So I purposely left it a little vague in the last slide what we're designing. And I didn't say web pages because designing web pages is a lot like designing a page. It's a set of boundaries. And we don't have those boundaries on the web because we're designing systems. We're working with a content management system. And that same level of thinking has to go all the way back to the design level. Anything that we create has to carry the weight of new content. So when we hand off a project, when we walk away from a client relationship, they've still got their project. They've still got their site and their design language. We do our job better if they can add new things to it. And we do that by really considering the small and the large scale of our work. Like really little things like what font or the characteristics of the serifs on that font. All the way up to the layouts in every different conceivable responsive width. So thinking in that large and small level of detail makes me think of style guides. I'm not the only one. And it's worth thinking about what style guides are and why we actually have them and why we might want to think about using them in a different way. So a traditional product of creating the design system is for the designer to create a style guide. This might be done after a design is complete as a way to communicate that design thinking to other stakeholders or future designers. In our design language, like I said, it needs to sustain a feeling and a character across many different sections of content. And if the brand is cool and sophisticated, it probably won't do to lose sight of that and start adding tattoo flames. So that's why we need style guides. They codify a design so it can be communicated. And so a lot of brands have started to publish their style guides. And a couple that I have here, I think that I've got a list apart, which most of us are familiar with as web professionals. And as you would expect, it's nice and clean and airy and suits the brand. And you can tell that by looking at the style guide. Another one that was published by some of the same developers I believe is Code for America. And they have a very distinct branding as well. And without looking at the pages of their website, you can get a good sense of what the character of that design language is going to be just by looking at a few sections of their style guide. So I'm suggesting that we flip the process around and start with a style guide and treat it like a design tool. Brad Frost has written about this and spoken about it a lot lately. And you may have seen him write about the concept of atomic design. In that concept, he proposes starting with the smallest things. And he calls them atoms. And you work your way up through bigger and bigger constructs until you design full pages and templates. And actually, he's developed something with other people, a project called Pattern Lab, which is a style guide creation tool. And I've been using that on recent things. And I'm going to be using that in some of my examples here. So by starting with the style guide and creating the reference for the design language, as we create the design language, we get a very valuable perspective that allows us to fine-tune the minute details and see how the little pieces combine to create the whole. So maybe a more of a direct way to look at this is to see that each page, whether you call it each item on a page, whether you call it an atom, like a molecule or a menu, an image gallery, an author, a byliner, whatever, you'd call that a component. And a design component, I think of as a self-contained chunk of design, and it's an extension of well-formed content. Components can be assembled into other components and combined into layouts. So instead of designing a page, the goal is to design an interlocking family of components that become our design language. So when we start with an empty style guide, or an empty page, or excuse me, when we start with an empty style guide, instead of an empty page, we actually have a lot less emptiness. We get a scaffolding where we can create our design language and codify those little things. And we can organize those into bigger things. And we start to see our content structure take shape. And we get to work with that from a design perspective. Until finally, by going back and forth through design iterations, through the little details, out to the big things, we come up with something that actually has a certain specific character and conveys that feeling and meaning that we need. So that's really similar to how I think of when it comes to jazz composition. So this is just about music for a second. So a composer, and we're looking at Herbie here, Herbie Hancock, he's going to create a tune. He's going to be inspired. He's going to have a reason to create a melody. And that melody is going to exist in a certain tonality. And then you've got the melody and the tonality. And he's going to experiment with different chord progressions, things that work with that melody, things that enhance and things that add surprise. And he's going to have these chunks, these phrases, that have a feeling. And then finally, we're going to assemble that into a form. And that's why that starts to feel like design to me. This is a very constructive process. But we're still just making the document. This is just the style guide for a song. So it brings that to the band. The band's going to play, going to get together, count it off. They're going to play that through one time. And they're going to keep going. If you're a jazz fan or not, I'm going to speak to those who aren't jazz fans. And maybe your impression is that jazz takes a long time. So what's happening is they play through that song, that melody one time. And then they go round and around the form, mining it for creative details. They're going to pick out nuances from the melody and from the harmony. And they're going to create and combine and interlock those. They're going to be reassembling the design language in real time in the form of jazz song. So this is musical thinking. This is style guide. This is all getting nice and mixed up together. And that's why all of this musical training sort of resonated for me in design. Because it turns out that all that creative finding and crafting of melodies and lyrics, constructing that harmony and creating that feeling, it's a lot like designing.  So at our core, we have our melody or our lyrics and melody. That's our content. That's what you can't exist without. So this is why we might argue for content first design. Good music is not good because it's in 4458 or resolves to a D low grant with a sharp nine. It's pretty cool though. It's about the core melody lyrics and the content. So that's what we need to start with. We need to know what our content is going to be before we decorate it. We're probably never going to have every word or image in advance, but we can do a pretty thorough content inventory and modeling and be able to map out the characteristics of our content. And that's what we need to know before we add it to our CMS. And it's the same for our design. So by starting with the content, we have the opportunity to actually follow the content's lead that I got behind. It's really the first piece we needed to build our design vocabulary. So now we've got our content. We start to layer things on. We've got a harmony and rhythm, which are our components, the things that we can move around, things that we can shape, the things that we can assemble. Because they give our content, they give our design, they give our music structure and distinction. So we've done a content inventory, content modeling. We don't just string that out and hope for the best. In musical terms, you can't have variations without a theme. So our melodies need structure. They need context. And so do our designs. So we take it. We take that content. And we mold it into various components that enhance the tone and the message of the content. We decide whether something's going to be verbose or bithy and image heavy. We look at it. We consider it. We ponder it. We use. We look for patterns. We try to pick out the different pieces that fit. We try to throw away the ones that don't. And we combine the ones that we like. And we make components. And we combine those into bigger components. And we assemble those into page templates. I did get behind. And we don't yet even have decoration. We're not even at the point where we're worrying about the color. We don't even worry. We're not at that point yet. This is structure. But this is still design. So now we're going to add a little bit. We're going to get into that territory. So we've got our instruments and our players, which is analogous in my analogy, to art direction. Because they add an aesthetic framework to the limit. And they add limitations. So that's the limitations.  They're all going to be able to play the song, but they would do it differently. And that's why we need a direction for the music or for the art. So we start adding basic graphic elements to our design. This is going to vary somewhat from designer to designer. But I've always found that if you start with typefaces and type sizes and colors, they go a long way towards defining a design language and finding the right combination of these elements is really going to carry through to the rest of the whole project. So everything you create from this point on is going to use that type, those sizes, those colors. So it's worth it to spend the time to get it right. There are a couple of tools I'm going to mention as we go. But as we're choosing type, the one that I tend to go to is TiteCast. This is an online service that lets you combine web fonts from most of the service providers and use them in their interface to see how they work together and find combinations. So this is them being able to choose some of the fonts. And this is being able to do some of the styling. They've got full control of the CSS. Unfortunately, I don't believe they have SAS yet. But I usually work here and then bring things out of that system. So what I would get to a point where I'm looking at the combination of typefaces that I want to use on a project, seeing how well they actually work when they're against each other, if there's harmony, if there's vibration, if it is going to end up serving the needs of the project. So then we move on to choosing the right sizes and the type scale for the project. So I like to set font sizes that work harmoniously. And a few years ago, a designer by the name of Tim Brown brought forth the concept of modular scale that really resonated with me. And also my friend Scott Kellam. And we got together and wrote something called SASy Modular Scale that lets you do these sorts of calculations within SAS. So the concept of modular scale is you use ratios to establish the relationships of font sizes, or really lots of other elements, in your design language. So it's actually been a concept that's been around for hundreds of years, I think. When you are in Word, for example, and you pull down the font sizes, there's a reason you don't see every distinct number. And it's like 12, 18, and 64, and 72, or whatever. That's taken from the history of font scales. And this is the same deal. But we get a little bit more fine control over how we want to define that scale. So in the SAS version, we can choose different ratios, different starting values. And so what we're seeing here is a scale that has a fairly wide but even set of sizes between our smallest and our largest that we're showing. And here we have one that helped me out. Did that advance or not? I couldn't tell. We'll see. There we go. And here we have one that's got a more narrow range of sizes. And that's using a different ratio to calculate that. And you can get a little bit more fancy and say, this is one that uses actually an interlocking golden ratio. Then we have two that are large, and then two that are smaller, and then two that are smaller. And they kind of work in pairs that way. And they have an effect on the character of the design that you're going to work with. I think it's one of those really great things to start early with. And then color. Another SAS tool that we can thank Scott Kellen for is Color Schemer. Color Schemer lets you generate harmonious color families based on a single seed color. So similar to tools like Cooler and Color Scheme Designer that help you choose analogous and complementary colors from the color wheel. We got it. Yeah, there we go. Cool. This gives us a lot of control to experiment. So for example, we've got our primary color on blue. And around the color wheel, on the other side, is its complementary color. Just some ninth grade color theory, I think. It was their orange for the blue. So we might want to choose a color scheme that uses that complementary color, and then branches out around the color wheel in one direction and the other to find colors that are close to its complement. So you end up with a blue that's going to pop, and then a family of colors around that to give that some context. So you can use Color Schemer to say, I want to experiment with that and see what this pattern is going to do. And another pattern, and another pattern. And so you find a color scheme that works for you. And then, of course, you can tweak it and make it your own and move things by individual minute degrees until you get the exact color scheme that you want. But it's a really great tool for being able to experiment with different options at the very beginning of a project. So like I said, we just have the document so far. This is our basic stuff. It's time to play it. So when we're doing component-driven design, we can shift our focus between the fine details of each component, and then step back to consider how they lock together into a page layout and step further back to see how they relate in various responsive layouts, and then further back to see how those layouts work within the context of the entire project. And going in and out back and forth in design iterations. And you can do that forever.  So because we're doing design iterations, what's great about doing it that way I found is that it's helpful when I work solo and when I work with a team. So when you split out the pieces of a design language, I'm going to work here. You're going to work there. Between different designers, they can work simultaneously and still be aware of how the design is changing in shape and form as each go and contribute new ideas and collaborate. So you get a nice amount of collaboration by doing it this way. But you can also bring in designers that aren't bought into the whole coding as design thing. You can bring in Photoshop-based designers by asking them to work with the design language that's being created to contribute to it by submitting their Photoshop designs and then having somebody who's better versed in the coding to bang that out into markup and CSS as quickly as possible so that you never get stuck in a raster-based Photoshop iteration that takes you away from being able to have this nice family of HTML and CSS that are going to create your design language. So I mentioned before that I've been using Pattern Lab. So here are a couple of screens of a recent project that I've got where I'm doing this process. Here's the color scheme and some of the fonts that are being used. I used Color Schemer. I tweaked it. I used the typographic tools and actually really happy that I got to use some of the H&FJ fonts for this project.  So we have a headline, a sub-headline, and a block quote. You start to combine those. We've got a heading and sub-heading pairing. The designer, the design process made me see, oh, well, that arrow that pointed down. I added that because I wasn't sure about it. I liked it. Turns out it becomes a speech bubble. And I looked for other interesting ways to add speech bubbles. This is for a communications project. And so you might be able to notice that in the white space surrounding the header with the canary promotion, on the far right bottom of that, there's another little notch that becomes another speech bubble. So I looked for, do you want to take that? No, no, no. So I looked for different ways to extend that design language in subtle ways as I interlocked all the pieces. You also, because you're working in the browser, you get a chance to experiment and find responsive opportunities and solutions early on. So this is the header for the project. And even before it's integrated into a template, before it's even got a page, I can look at it in this context all by itself and say, you know what, when it's wide, that background with the feather looks great, but as I get it narrow, it doesn't work anymore. And I wanted to find a new solution. So the heading is responsive in and of itself. It has its own states for different widths and for different heights even too. And then you can assemble all of those pieces into page templates. I'm a big fan of philmurray.com, by the way. Filler images with Bill Murray. And the interface that I work with lets you see those at wide and narrow and mid-range and the whole range of sizes so that you can expand the viewport out, see when it breaks, and then make changes to your layout and your design as you see fit. It's a really great designers tool that integrates run and development techniques. Couple more techniques, couple more tools before I wrap up. And for building grids, yep, is singularity. So singularity, it's been talked about at Drupalcon. It's been talked about in a lot of places. So my friends Scott Kellum and Sam Richard made this. And it's my favorite grid system. So you use SAS variables in mixed ends, and you can define any grid you want. You're no longer limited to the tyranny of the equal column. And it could be asymmetrical or symmetrical. I need to go back. So there we go. So we're looking at a symmetrical grid that I think is, I don't know what, nine columns wide. And you define that by having a variable in your SAS that says I want to make a grid, nine columns. And then you have another variable for the gutter space that you want to add. And then you apply that to each item in your grid with a mixed end. And you'll see that as include grid span. And I'm only showing the first two. And so it would include grid span, and then one column wide at the first column, and then one column wide at the second column. It's really as simple as that. But you're not limited to equal dimensional columns. So here's one that has some interesting groupings. It still boils down to groupings of equal columns. But it's one column wide, and then two columns wide, and then one, and then two, and then one, and then two. You can still do this with most grid systems. But this makes it really, really easy. And then finally, there's something you just really can't do with most grid systems. And this is a fully asymmetrical grid that I think is like eight, and then one, and then five, and then three, or three, and then five. And I chose the first set of Fibonacci numbers because that's not symmetrical anymore, but it does make it more interesting if that's what you need. So if you want something that kind of stands out and says this is a bit edgier, this is a bit less even, you can actually go to your grid to give you some of that without having to go straight for the big guns of say a grunge texture. Another tool, and one that I also worked on with Sam Richard, is Breakpoint. We talked about this last year at TripleCon. But it's a tool for simplifying and organizing your media queries. You can assign a media query to a variable name. It's got a really short, easy syntax.  So you're organizing bit by variables. You get the shorthand syntax. And this lets it be a little bit easier to experiment and play around with. A lot like the color schema tool. It's all variables that can be changed. If you don't like it, you can move it by degrees until you get exactly what you want. And the way it works is you have a variable, this is just basic, and it's 543. And that's gonna compile into, on the right, a min with a media query at the value of 543. There are more, the next one that I'll mention is that you can have pairings that will compile into a min and max with media query. It goes all the way down. You can make any kind of ridiculous media query that you like. It handles things really gracefully. But this is some of the basics. And it does allow you to do some really nice experimenting and then move that on to production ready code. There's a lot more bullet proof. And then I also wanted to mention, that's for you, buddy. I also wanted to mention EQJS because it solves a problem that we don't have the solution for in CSS. So an element query is really a theory of an element query. It's gonna be the ability for a piece of content to react based on the dimensions of the piece of content it's encapsulated within. So you've got a container element that might change in size. So say you have a column width and inside it is a media gallery. Now, there's no way in CSS to say, when that column width is wide, I want my media gallery images to be bigger and then style our text differently. But with EQJS, it's possible. So you add a data attribute to the element. EQJS goes through and parses that and then writes a state to that element that you can then style against. And that works a little bit like this. So we'll see on the top at the far right, data-eq-pts points. That is the settings for a small and medium and a wide element query. And then the JavaScript will go through and find where your element is. If it's within one of those ranges, it's going to add a, I got cut off. It's gonna add an attribute that you can style against. What is it, Sam? What's that? It would be called? Datastate. Datastate. Datate-eq-state. And so you can style against that and be able to actually react to the context of an element's container. It may sound heady, but it's super, super useful. So finally, with all of this, there is the trick of working within your development environment. And that's because, in these examples, pattern lab is its own thing. It's not part of Drupal. And what I like to do is do all of my styling within my development environment, within my Drupal theme, and then have pattern lab react to that. So I made a really simple, and trust me, I barely know what grunt's capable of, but a really simple grunt configuration that compiles my CSS from my SAS and then can move that into my pattern lab instance. It can also collect my images and my JavaScript and fonts if I need to add those as well, as well as do things like JS-hunting. But that is core, what I needed for is moving things from A to B. And it's pretty simple to do it. There's a download link on this slide. So if you go to the slides on GitHub, this download link is there. And you can experiment and use it for your own purposes. And it's also linked right here. So these are all the links from the different pieces of this. Please reach out to me. I think we have some time for questions. I think there's a microphone somewhere. So thank you very much. Oh, there's the microphone. It's in the middle of the room. If anybody has any questions. Hey, thanks a lot for the talk. I had a question when you were talking earlier about having your content before design, which I get. I was thinking though, in terms of this idea of making a style guide or your design patterns, to what degree of content do you require before you can delve into that kind of thing? Cause I would think you could start doing that beforehand. It depends on, you have to have a knowledge of what you're designing for. Sure. So if you are intimately aware of it, say if you work in house somewhere, you might have a jumpstart on something that maybe it was a client project. But you should have a good understanding of what that content is. I really like being able to go and doing some degree of a content inventory with stakeholders. So that I have the tools I need in order to be able to have informed design, not just I wanna express something, but also to get the clients and the stakeholders on board with a process that I'm not here to express myself. I'm here to really get to understand your business and your needs and understand at a very deep level what we're trying to design against and what we're trying to support. So if you don't jump that gun, you can get them involved in a process that has a much better, much more solid foundation. Yeah, so you gather, I mean you're understanding what the client and what the project is about, but then later in the project, when you have actual content on a section by section basis, then you go back and show some designs on that. Yeah, you might've seen that even in the design examples, the text might've been lower Mipsum, but that's not the point. The point is that it was well-defined, that we knew we needed a headline, we knew we needed sub-headlines, and on a deeper level things that you didn't see, you knew that we needed to have structure like clients that had theater events and those sorts of things. So we need to have that level of definition to our content, even if we don't know what the language is gonna be. Hi, with the element queries, do you prefer to set the config within the document itself or do you like to do that within the CSS file? There's kind of different libraries that do some more things. The library that I'm using does it in the document. I'm not familiar with the other ones necessarily, so I don't have a preference as long as it works. My real preference would be for it to be part of CSS, but there are a lot of reasons why that's hard and maybe not possible with what we have. And what tools do you use to actually implement and reuse some of these standard components like DisplaySuite or teasers or how do you reuse these components? Honestly, I've got a lot of components that are in old projects, but I like to mostly leave them there and start from scratch with new things. Sorry, I mean like within the same site. Oh, within the same site. Oh, sorry, exactly. That's what the pattern lab the style guide is for. So using pattern lab as an example, you've got a directory of templates that will be for little things like, I just wanna see all the headings laid out or for bigger things like let's assemble those into this component and that component. And so that's all stored in pattern lab and then you can say in Drupal, you have a template that's gonna match to that. And so if you are on top of that, you can have there be parity between your Drupal templates and your pattern lab all the way through to launching completion. I'd like to know at what point when you're working with a client, do you get like what's the process for sign off and dealing with the comps? Is it like the Photoshop comps or do you work with the HTML page or how do you get like initial confirmation? What's the TADAH? Yeah, when did they say it's good to go? I like to have there be early and incremental sign offs. We get away from the TADAH. The TADAH is a lie. The TADAH gives them the sense that, oh, somebody went off, did magic, and there we have it. But it's much more of a, it should be much more of a collaboration than that. Certainly when designers work together, it's a collaboration. And bringing stakeholders in there is only gonna make that better. So if you have, I like to work in Agile, in an Agile project management system. So if you have bi-weekly check-ins with your stakeholders where you show off the things that you've agreed to do, that can and should include design. So if you say at the beginning, I wanna do a content inventory or now I wanna work on typographic basics, you set the expectation for what they're going to see. And then when you meet those, you gain a little bit more confidence every time. So it sounds like it's pretty granular and there's a lot of interactivity with the stakeholders. I like it that way. Just wanna say thank you. The slides are really nice. And I like them because I'm into music a lot. So I appreciate the analogy, thanks. My lack of sleep, thanks you for that. Cool, I think no one else is gonna stand up for it. So I wanna thank you guys a lot for coming out. And I'm online if anybody wants to talk. Thank you.


we are in a rush right now we're going to the dentist I have not been to the dentist in over two years and guys the reason why we are documenting this is because I've been trying to tell you for the dentist for so long and you never listen to me I do have to share the news and it's not good I'm actually kind of pissed off are you serious yes why do you think it's so much money thanks this is like off-camera like 3,125 are you actually gonna break up baby what are you get your ass up we got a dentist appointment to go to today what what's wrong you look a little you look a little wet baby this is no time for sleeping we're literally about to be late for our dentist appointment come on let's go let's go get up come on come on let's go get your head in the game look it you're getting your slow look at she's drooling everywhere that's so cute get out of here what are you doing hey you're up now though you're up and you look good guys we have to get to the dentist in 20 minutes and it's literally a 15-minute drive so let's get ready we got applause to brush our teeth before we go there because I'm not trying to go there I'm not trying to go there with you know stanky but so I guess now is a good time to show you guys our new things I put in new things and I don't know if you showed you yet but here they are Mariah's of course dirty hers up but it looks good right it looks like we're in a high-end hotel right now I can't hear you sorry too much brushing nope so we just wake up but before we say anything guys look at all these birds in front of our house they're always at our house like they're all like they were at least like 10 of them earlier but they were all just walking from the car like mine in the real business taking out worms or whatever the heck they're doing they're always I've seen in our backyard snap goes crazy when he sees them though I'm not I'm trying not to hit them look at them they're like we got to get out of here as they're running away scared though they're still picking at the grass for food like these birds straight up don't give a crap guys we are literally driving into a storm right that way I want to go down I want to go the other way right over here but what is good about the squad and welcome back to our channel oh my god bright and early we are in a rush right now and let me just tell you we're going to the dentist but I have not been to the dentist in over two years and guys the reason why we are documenting this is because I really do believe I mark my words Bill is going to have a very not so fun time at the dentist Mariah things that I have just bad teeth I don't have bad I just feel like you haven't went your breath constantly things I feel like there's something like in there went up in there I have a clean guy I hope I don't lose no you do realize if cavities get so bad at the point where they can erode sure I would feel them and see them by now if they got that bad babe sorry guys if the lighting is kind of I look like I'm no but here's the thing so I haven't been to the dentist in like that long and we're running late we're like 15 minutes late today no it's like a woman no takes 45-minute showers I cannot I can't take about an hour we left the house at the same time Mariah is just full of it and she needs someone to remember oh wait we can't leave yet I gotta take out the trash it's trash day like okay right but yeah guys basically we're gonna be documenting to see what bad goes out wish me luck I'm gonna be trying to film as much I can in there because we're really really really really want to see what they say when it comes to my teeth guys make sure you're watching this video all the way the way and I'm hoping that I still have a lip tattoo oh yeah so they're gonna be like what the heck is that they're gonna be wondering why the heck I have a freaking lip tattoo and why someone would even want to get a lip tattoo but here we go wish me luck guys make sure to like this video for my sake I'm nervous for him I need every like I can get let's see who wins so I think you're gonna have about five cavities no I don't want to I do you want to guess that why I'm not gonna have none but I promise you guys he's gonna have one watch one it will be a miracle for you if I will see make a big thumbs up comment down below how many calories you guys think he's gonna get this is gonna be crazy so let's go so unfortunately me and Bill can't go in together which I was really excited to do that but we are gonna be filming like our own little things like I'm a low-key filming when I go in there and I'm gonna like show if I have anything but Bill is like the main person here I'm telling you guys I'm nervous for him I really do think that he has a lot brewing up in there that he needs to get fixed when I didn't go the dentist for like a year I had the worst cavities they had to drill my mouth all the way down it was terrible so I can't even imagine what two years almost three years looks like in a mouth like I don't I don't know he is really good at flossing and brushing his teeth but sometimes that's not enough you gotta go to the dentist every six months we're gonna see what happens a little nurse for him but this should be interesting what do you guys think it's gonna happen I have no idea but it looks like it's about to storm and we are late once the wrong dentist that's our luck once the wrong dentist and now we're running a little bit late but we're here now and that's all that matters looks like it's about to storm and watch this when I have to go and it's gonna be pouring rain and then I'm gonna get soaked on right before I go to the dentist but of course Bill got in first you know he's safe he's not getting wet but of course I'm stuck in in what so you gotta go like we got a clipboard so I don't know how crazy I look but I really just took extra days I was gagging you so bad oh my god I hate the dentist comment down below if you guys like the dentist I don't think anybody likes a dentist but she says no I actually wanted to be a dental hygienist which is crazy to think about but nice look at how cute adorable that little birdies in there I've been a dentist at April so I don't think I should have cavities but still worried I don't know how Bill's doing he's in there right now so hopefully he's not getting all butchered guys they have an actual bird cage out here and those are their actual like pet birds right outside the dental office what the hell that is the weirdest thing ever alright guys so we just got out of the dentist before Bill tells me how many cavities he has I really asked him in the dentist office and all the girls were laughing shut up I don't know how many cavities he has but it sounded bad it sounded really bad but I'm gonna wait till I'm gonna wait to tell you till we get home why cuz I don't want you to be in the car why can't we be in the car just keep talking so we got to the dentist office late they had me thought long paperwork then they're like fill this out as fast as you can because we need to win and then we got in there and the dentist immediately starts checking my teeth and things just go down from there but let's talk more about you cuz it's fine no no I'm curious about you you seem like you have more of the issues no this is actually a big deal this is bad so let's just talk about you so what happened with yours Mariah has a cavity right I have one tiny tiny one and you were making fun of me last time I didn't have any cavities and when April and I didn't think I was gonna have it since it just went I want to know how many cavities you have dude because I've been trying to tell you go to the dentist for so long and you never listen to me it's not my fault like it is what it is at the same time it's not like the dentist said it's out of neglect but I told them it's not that I didn't want to go I just straight up just never planned a day and it just kept well guys we're gonna go get Starbucks and I guess I'm waiting until we get home to hear his results which now that worries me because I mean it's bad news let's just let's go and also guys I have to go back at two o'clock to get a teeth cleaning so this is all right so we just made it home I do have to share the news and it's not good I'm actually kind of pissed off you're mad yeah I mean you're mad all right here come here no you come on come here so I got Mariah's paper from the dentist and I got my paper from the dentist and putting them side by side this stuff that has to get done on them like Mariah has this much of tax my page had to go to the back has a little short text because I literally only have one tiny cavity I remember though I kind of didn't go for over six months and I had like five cavities well that's why because they weren't kept up when they weren't like right when they were sprouting I could have got these but a lot of these cavities are tiny a lot of these yeah I tell you have a cavity here where shut up I don't have bad teeth I just brought the stinking I just had a bad like no a bad time like keeping up with the dentist shut up can you just listen to me really quick I'm listening sad I might die you're not gonna die so are you ready no I'm not ready tell me guess how many cavities I have this is all jokes aside guys this is serious I don't even know I don't freaking know that's very serious I think it's surgery they really have to I freaking told you I have a clean a guy guys I told you this is why your breath be stinking because you got something going on in your gums they have to take out all my teeth and replace them with new ones they're all just rotting out are you serious you're joking right I was actually dead ass like when I like when I told you in the car they do have to take out like teeth cuz they're rotting through yes are you serious yes why do you think it's so much money to fix like this is like off-camera like yeah are you serious do not believe me are you serious yes it's my remember my back ones with the dots in it the dots like they go all the way through my teeth I knew when I was hearing stuff that there was more than the freaking cavities are you serious why how are you yes they're gonna they're gonna fill it or don't have to get dentures it's not dentures it's gonna be permanent it's like my dad you know how he got the fake tooth button yeah but they're like not they're like they're fake they're fake teeth no they're not no I have to get like a screw put like they take out my then they put two screws in and then they pop in a tooth that is the last like you know 20 years or whatever are you actually being serious is this for real yes let me see your papers why do you think it's so much whatever these three surface that one and that one that's why there's so much wait you have to actually get fake serious right now this is real talk can you read the total on the back the three thousand one hundred and twenty five dollars for your freaking teeth this is why guys you go to the dentist every six months go to the dentist I know you don't like it but this is a prime example right here a lesson so we have 28 teeth and I have 23 cavities very actually being serious I 23 cavities on top of that no you don't I would say down here it does you only have it says one two three four five six seven eight nine ten cavities but my teeth are rotting those aren't though like are your teeth actually rotting yes why your breath always stinks I guess smell now yeah are you serious wait off camera are you joking so I can't really say okay I have ten cavities let me just tell you that okay trying to make fun of me and I don't have decay in teeth but I'm just messing with you I thought you were actually being serious I believe not I actually have to put me under like with laughing gas and what is real it's not real are you actually getting your teeth removed they might have to actually build a new jaw because my jaw I'm kidding guys no I try no I literally tried but I'm not getting surgery at all I tried to prank you with that but I do have ten cavities that wasn't a joke and the $3,100 is not a joke it's insane how much cavities are this why I have injuries are you not shocked are you not happy that I don't have to get surgery now well yes I am but she did I thought I had decayed guys my teeth are not that bad stop this girl literally has been making fun of my breath for the past month and it's not because of that you just have such a sensitive nose I can smell and she can smell snaps ass from here I smell it I bet you do because this girl can smell my breath I can be talking in the other room and she could be like to brush your teeth today I'm like yes I did I really do have strong senses I will give that to me I do have really strong what I listen here I actually believed you because you have not been in the dentist in a while and stuff like that happens guys let me just tell you though that it's bad let me just tell you that this is a big deal and ten cavities is a lot and I really do keep up with my teeth but I don't know I just this is like not going to the dentist they just kind of like developed over time and they're not big but they're just there's a lot of small ones okay but would you rather have a lot of mini ones or a few major ones I rather have a lot of mini ones because then they kind of just like scrape the surface a little bit grind the tooth down fill it back up you're good big ones they got to get in your roots down there I ain't going through that I'm very thankful that it's not as bad as you were telling me because that would have been so bad it's so bad let me know if I beat you guys in the comments please comment down below what is your record for most cavities if you guys have had no cavities put I've been the perfect child the perfect person I have no don't lie I have five before it's crazy five I've never had that many before but today I beat everyone I feel like I beat like 90% of people out here I want to see did I have five in one like I had to get I got five of them done in one time see they they can't do all of them at once so they schedule because you have to get you're gonna be your whole base they scheduled me for five different appointments that have to go and my first one isn't in two weeks after her family leaves say like the dates of your actual yes it does I already single one no not every I have to plan those as I go well make sure that they're not interfering with me I got it I got it because today we missed our workout mr. three o'clock we're good okay we're good perfect that's what you get for smacking me am I free one that's yeah okay that's still suck you got to get out you got to get up no no no wait all right ready so comment down below if I did beat you guys thank you so much for watching this video this is still a huge deal and I want you guys to know that I am sorry Mariah for making us spend $3,000 because that's a hell of a that's a that's like a new car to people you are lucky that I love you because if you were anybody else I'm just so attract how I'm just too attractive if I'm anyone else than what you're breaking up with them you're saying if I was anyone else that you would break up with them because of this oh no I wouldn't break up with them I would just you would what exactly so it wouldn't matter if I was someone else huh maybe we should just break up are you actually gonna break up with me because of this thank you so much for watching this video I really really really really really want you guys to pray for my future and my teeth future stress enough that you need to go you need to floss and brush and guys sometimes flossing doesn't even matter because you can floss every damn day and your dentist could still throw in your face and say that you didn't because that's what happened to me today I floss and he said that I don't so whatever yeah you do floss but I don't think he floss enough I do floss all okay every day how can you not floss enough so today's end of the video post vacation shadow goes to Emily workman shout out to you Emily shout out to you part of our channel if you want to end the video post vacation shout out I want you guys to comment down below letter by letter for this video I knew you were gonna say that cavity for a post of the case shout out in our next video thank you guys for watching give it a thumbs up and we will see you in the next video stay tuned because the videos you're gonna see we're doing a truth or drink with my god the next couple videos are gonna be lit guys get ready get some popcorn you guys are gonna love them so just wait because they're coming out soon


Everybody forced here up in 2023 museum collection baseball hobby six box half case number 23 picker team style names and teams here Adam V with diamond backs Cameron C rays Henrik with the Orioles Ian T angels Jack s Phillies John K the brew crew Justin E Yankees Costa Blue Jays Larry P Tigers leeway Marlins Matthew D Reds and Dodgers Murray with the Guardians Astros Royals and Hadrey Sinate S Rockies White Sox and Giants Nick B twins Ramar's Braves Robert R Cubs Ryan and Pirates Ryan G Mets Sean P. Mariners Rangers Shigunori Red Sox Silas with the A's and Cardinals and Zack D with the Nats Good luck everybody Thanks for your patience get this one filled up tooks a minute to get here. We can move some stuff around but we are here Yeah, we jumped it. We jumped to I right away John very weird, right? I I literally thought that because I read off so many Many of those I was like whoa Yeah, hopefully this is this is a nice case, too. We are down to three to go in the next one So two breaks left today guys Museum second half of this case at three to go. It was Braves who else Braves Yeah, no, not giant Braves Braves Rollins Mets. Yeah, this one. So you had it I knew it. I knew right away. Yeah injured wrist. I don't know what I did I like just turned a wrong way like pick something up That was kind of like the case like heavy enough to where like you're like a tilt a little bit You're like that was not the best idea Who knows anymore, dude? Here we go Hello Quicks What's happening Quicks? Copper Piazza. He's a Dodger in this the Jersey card of Brandon March had a 50 for the Angels It is Copper rookie Alvarez for the Mets There you go Quicks glad to hear man Nice little number here. It's gonna be Garrett Cole quad relic 16 of 20 for the Yankees Pinched stripes sneaking on those at the relics there Sayang winner first sayang, right? Nope third. Yeah, pretty sure third Third or no second third or second So I'm gonna use one before with a different team. I Thought it was his first one because he got robbed by a verlander on the same They gave it the verlander when they should have given it to Cole Or redemption coming up to Jerry Perez recated to 99 Marlins canvas of Otani As the reprint cam is not the original archival auto so gonna be an on-card auto Riley Green nice card Tigers Rookie auto on card Riley Green on the redemption. It is this for okay. Yeah, it's because the year he should have won like 18 or 19 or something to 150 Tim Anderson White Sox How's the makeup for the for the porcelo year sayang they gave it a verlander now we feel bad about that Let's make it up and Jram duel Jersey auto 750 for the Guardians Nice hit Guardians Sam calls them Bam Bam Jram. I don't think anyone else calls them Bam Bam J Like cam chance are causing Bam Bam cam. No, I don't think anyone calls these players by those names Sam's just Sam Sam living in living in his own world We're all NPCs unfortunately in Sam's world. Yes Piazza to 299 LA Dodgers Bobby Whitney canvas reprints and the 15 is a patch card J-Roll for the Phillies. That's a cool one But a dirt looks like on the stitching J-Roll the 15 three-color patch Jose TKO Ramirez He did catch it with the hook to 99 we got Corbin Burns Brewers Cost us there with a quad jersey of Xander to 75 Padres Xander Bogarts The Zandman all right guys Zand you just have to have to have to pronounce D really hard and Yeah, the Zandmans. I mean this guy's always tired Why I wonder why I got Vladdy Rookie autograph Tyler Freeman at 299 for the Guardians Stop Travis The first time Sean and Sam have worked together in like two weeks tonight It's literally been two weeks.  Oh, yeah It's gonna be pandemonium And rookie duel jersey auto rangers Josh young the 399 nice hit Texas Solid couple of boxes so far some some pretty good hits All right, we got rookie Moreno to 150 for the Diamondbacks Quad jersey McCullers out of 99 for the Astros copper seager canvas of Springer, I guess that's Springer And Josh young to 50 this time rookie duel jersey auto Texas man you go Sean P. Congrats I can see it man back-to-back just box of Josh young with the auto he would trash. Let's make him try That's awesome quick You earned it buddy You earned it. You got Peter Lonzo to 299 Mets. Oh Man, that's awesome. Rookie to 50 his alley restaurant Orioles Rookie Jersey there for Baltimore. Okay, this pack feels heavy. I think we got a frame We've got one of our case hits here. We do have a gold frame We do we do have that. Okay Who is it? Who is it? It is a Yankee It's a Yankee it's a deck in my suey three of ten cold ink That's it Godzilla for Justin E Beautiful hit Justin That's going in a bag. Yeah, what a legend what a legend that is super cool signed a really nice with the gold Sometimes that doesn't look super clean did a good job. He cared Did you see the interview with him in a? Shohei and how Shohei loved him growing up. Yeah, and like This is how you know Yeah, this was a few months ago, but like this is how you know how humble he was He signed an autograph for Shohei and handed it to him He's like this is probably not gonna be worth a lot and Shohei literally looked at it like he cherished it with That's suey. I was less. That's the dude. Yo Canvas rookie of Yoshida for the Red Sox Clemens Jersey Yankees the 35 Dang quicks Is that because like it you get on like a waiting list and then you have to like they just let you know like hey now It's the time. Is that what happens especially for a transplant? I guess for certain things. That's crazy though, man Glad it's done though and you're recovering Yellows to 299 Brewers. It's got to be a relief Bobby with junior autograph to 99 KC All right, this box picked up a bit here Murray with KC Congrats Murray Bobby with clean on-card auto there Well, you know like Fred Gardner I don't think Yankees fans like Brett Gardner anymore. I love Brett Gardner. Do you? I do as a Yankees fan I'll you can be honest Jay. No, I'll be honest Rookie Quad Jersey to 75 Josh young probably one of my favorite guys Texas again Well, there are ways I didn't hate Brett Gardner until Well, I was like tears was here. He's yelling at everything and getting mad at these things He was really good for like oh, yeah It's hard. It's hard to just like a guy that isn't like a big star But still makes it on a team that's in like the limelight like that and plays it an important role It's a 99 Machado Padres Cuz he was honestly the clubhouse like Guard Geez, that's crazy quicks rookie to a relic auto to 15 Francisco Alvarez Met Saffermitt to Ryan G with the Mets here number 23 Look at that one magged that quicks. That's nuts dude. Like I said glad uh Yeah Glad you're recovering now. Yes. That's why I that's why Have the organ donor thing Definitely would definitely It's important. It's important That's Lindor to 299 Mets Claim there's a canvas rookie of a Gorman and a J-roll auto to 15 to go with your patch to 15 Phillies. That's really cool Jack s with the Phillies Patch to 15 auto to 15 See what else these couple boxes have here rookie blue is Yuri Perez for the Miami Marlins to 150 On-card auto Red Sox Carlton Fisk to 199 and Triple relic auto Alec Thomas to 399 Diamond Max Underrated player I think He is a little overshadowed there. Well, if he would have done something probably like the year he came out Yeah, the rookie rookie season. Yeah Now quicks is gonna make it for sure. I just know it copper rookie McClain The Reds With a jersey to 25 Mullins for the Orioles.  So he's still under 25 years old. All right, or is he right at 25? Like he's still young. I Think he's that that young could be I could be for sure. I could be wrong for sure though Quad jersey for some legendary first baseman Miggy Votto Freeman and Goldie 97 of 99 I would assume a random at the end you'd have to have over 50 over 50 percent You'd have to have three of these to have the card outright Larry with the Tigers Reds is Matthew D Dodgers is It's also Matthew D. So Matthew D has one more than it's he has a Cardinals and it's his Silence a so we're gonna random that at the end You have to have over 50 percent ownership of the card to earn the card out, right? But you still get two spots in the rain 24 in April younger than a younger than I thought All right last one. Okay, we got Riley the 299 Braves Well, will the thrill autographed to 199 giants? Will the thrill will the thrill Still three to go. I'm surprised those three teams are still there. Hey, Coral and Finnegan Legend, I don't why they're showing that replay. Oh, I guess I guess did you always in that game? Yeah Purple rookie Taj Bradley to 99 for the raise Taj there. Whoa, there we go. Jumbo Jersey auto to a 15 is Lance McCullers on the MLB authenticated relic autograph card That is the second case hit right there. I believe that counts Nice one there to 15 with the sticker authentication Astros Granted mill for The Lord that's all my thing is is that who's going to cough? Corbin Carroll someone is probably if they're already talking about it Corbin Carroll So I'm back to the canvas reprints rookie Paraz at a 20 Yankees patch card Hill is back. You know, it's bad with the number card do you? Copperland door and A past watch rookie quad jersey to 99 for the Royals Royals still a quick recap here or not random then a recap. Yeah, Marlin's gone So we're down to just braves or one of them to braves and Braves and Mets Tigers Reds Dodgers Cardinals random right here Cabrera Vado Freeman Goldschmidt's Parathrees will go six times servers up top gets it one two three four five and six red Reds get the card start the relics here. We had Adley Ruchman Brandon Marsh as an angel Clemens as a Yankee subject Mullins Paraz at a 20 J-Roll the 15 quad series at Pasquantino Lance McCullers Josh Young Santa Bogarts and Garrett cold to 20. We had the quad went to the Reds in the random Okay, rather green our car archival autographed redemption Tigers. I'll be on card Tyler Freeman will Clark Carlton Fisk as a Red Sock Bobby Whit jr J-Roll the 15 relic autos of Alec Thomas Josh young Josh young Jram and The and I'll be authenticated at relic auto of McCullers for the Stroze We had to 15 dual Jersey rookie auto of Alvarez for the Mets That's pretty nice New York teams killed it here And then he had a gold framed auto gold ink three of ten Hideki Matsui congrats the Yankees Love to see it. There go the Mets. Just the Braves left. Just the Braves left the next one. Thank you everybody


This is Brett with Summit Auto in Fond du Lac, Wisconsin. You're new and used Jeep and Jeep Gladiator Headquarters. Today I'm going to be going over the all new 2020 Jeep Gladiator Mojave Edition and everything that it brings. This one is a desert rated vehicle and we're going to go over all the stuff that makes it desert rated. Also going to check out the interior and everything that this vehicle has to offer. Gator green is the color. We shoot all of our videos in 1080p 60 frames per second. So if you have HD capabilities on your computer, tablet or smartphone device, turn them on right now because it is definitely your best way to check out the styling and looks and options on the vehicle before seeing it in person. If you want to check out all the photos on this Jeep in the upper right hand part of the screen is a link right to our website. Click that and check us out there. So the Mojave Edition is going to come with the Falcon Wild Peak mud terrain or MT tires. These are LT285 70R 17s. You get these 17 inch painted alloy rims. That mud terrain tire is a obviously mud pattern on there. You get the 2.5 Fox internal bypass shocks on here. This one also has a one inch lift on it to give it better ground clearance. For a total ground clearance of 11.6. You can see the desert rated badge there. So Jeep measures desert rated by a couple different categories which include ride control and stability, traction, ground clearance, maneuverability and desert prowess. So this vehicle is made to go over desert terrain at high speeds. You get the Fox shock, hydro jounce bumpers on here. You also get the orange tow hooks that are powder coated. This one has the LED lighting group which gives you the LED fog lamps, the LED running lights in the fenders and the LED halo lights around the LED headlamps. You get the gray metallic grille inserts. You also, part of the Mojave package gives you that center hood scoop right there. You also get the Mojave lettering on the side. You get the orange outline Jeep logo. You get the rock rails, part of the Mojave package. We're going to take a look at the original window sticker here. Feel free to pause this. I'm not going to go over everything, I'm just going to touch on some of the key points which include those Fox 2.5 performance internal bypass shocks, the performance hydro jounce bumpers, true lock, lockable rear axle, the rock rails which I pointed out and then you get the front and rear heavy duty Dana 44 axles, 4.10 axle ratio and then of course you get the fuel tank skid plates, the transfer skid plate, the front skid plate and you get terrain specific off-road plus mode. The optional equipment on here is the leather trim seats, the cold weather group, the premium LED lighting group, the 8.4 and premium audio group which gives you the Alpine premium sound system, the navigation and then the Sirius Guardian for a year and Sirius traffic and travel link for five years. 8-speed automatic transmission, you get the hard top, rear defroster and then you also get the wireless Bluetooth speaker which I'll check out in just a second. For a total MSRP of $55.85, if you want to get your summit price in the upper right hand part of your screen there's a link to our website with all the incentives and rebates. 19 combined cities, 17, 22 miles per gallon on the highway and then you get your crash test ratings and everything. Once again, feel free to pause this to check out everything on there. And we'll get back to the interior in just a minute. I do want to show you that wireless speaker which is pretty cool. You can take this wherever you go and it hooks right up to your cell phone through Bluetooth when you pair it on your Bluetooth device. It will show up as Jeep speaker so it's kind of neat. And then it stores right behind the seat here and you can see where those metal contacts are, that's where it's going to charge. So it just goes in here, it's kind of a tricky system here. So now it snaps in and now you know it's going to be charging. Then to release it you just pull that tab right there. So very cool stuff with that speaker. And then I'm going to show you on the other side the rear shocks. This one has the LED tail lamps, you get the rear tow hooks that are powder coated, LED license plate lights, the backup camera, the Jeep lettering on there, that back tailgate, folds down like so, LED bed lighting, pink coat on the Gator Green is PGV and then this is your case for your hardtop pieces. I just put it back here for the video that normally would sit inside the vehicle. So as we go down this side it does of course have four-wheel disc brakes and then you get those fox shocks in the back as well and then we're going to take a look under here so you can check out those skid plates and see we got the one under the transfer case also has the fuel tank skid plate, looks pretty heavy-duty axle. So really good there, you can remove the doors, just need a Torx 50 bolt there, has the enter and go system, the heated mirrors, inside you get the steel gray leather interior, notice all the orange stitching throughout the vehicle, you get the Mojave stitched in orange in the backrest, even the handle for the backrest is stitched in orange factory floor mats, power windows, power locks, the door trim stitched in orange, you get the orange inserts for the air vents and dash is also stitched in orange. I'm going to hop inside here, 7-inch LCD display, digital speedometer, outside temp and compass, you get the heated leather wrap steering wheel, part of the cold weather group, cruise controls, Bluetooth and information center controls and all that orange stitching on there looks really good as well it really brings the whole interior together. 8.4 touchscreen radio, this is the 4C so you got Android Auto, Apple CarPlay, you got all these different apps, projection manager, that's where you do the Android Auto, Apple CarPlay, you got the off-road pages, I'm going to press those right now just so I can show you that because it takes a second to load those up, you got your pitch and roll which is really cool especially if you're in the desert on you know uneven terrain, you also have your latitude, longitude and your altitude and then you have your drivetrain steering angle as you turn the steering wheel, those turn which is pretty cool and then you have your rear axle locker, you see if that's engaged or not and then you have your accessory gauges right there. You also have the AM-FM and Sirius XM radio capabilities and then of course the factory navigation system, don't forget that you got the Sirius Guardian for a year and travel and traffic link plus for five years and then down here if you like the more tactile buttons you got your climate controls, your volume and tune controls right there down here is your power windows, you get an AUGS USB and USB-C that rear axle locker and then the off-road plus mode, you got a shift to four-wheel drive to make that happen, perhaps we can do that in a different video. 8-speed on-mac transmission 4x4 shifter right there, you get the keyless entry and go system with the heavy-duty key fob that is a flipper key just flips open like that, remote start and really good feeling key fob, you also get the gray metallic dash trim and then the orange inserts around the vents again up here you have homemade buttons for your garage door security systems and lane systems SOS auto dimming mirror, I mean just too much to go over in a 10-minute video, the back seats you get the sliding rear window with the built-in rear defrost storage under here and then storage for all your bolts for your doors windshield and hardtop child safety locks on the back doors and I'm gonna do one more final walk around I would personally like to thank you for checking out the video today and hopefully from watching this HD video you will have been able to get a good idea of what the Jeep Mojave has to offer the styling and looks of it and you got to check out the Gator clearcoat which is personally my favorite color at the moment on the Gladiators, see more pictures of this Jeep or one of our other 450 new and used cars trucks, SUVs, minivans, rainbows, you name it we got it go to our website www.SummitAuto.com full pictures and descriptions of every single vehicle from two locations all at SummitAuto.com, if you'd like to check out more HD videos you can go to youtube.com.com.com. Remember to like, subscribe and share on this video in fact in a second you'll see a link to subscribe to our YouTube channel on your left a link to more Jeep Gladiator videos like this one on your right if you have not been to our website on the bottom a link to this video on our website thanks for checking out the video of this 2020 Jeep Gladiator Mojave and Gator green


Hello and welcome back to the craft box. My name is Brent and today we're on episode 41 of completionist crafter Welcome back today. We are crafting spicy chips Because you know pets love spicy chips again another really easy pet snack. We're nearly done with them So then there'll be no more pet snack videos because they're not the best I mean, but hey, we got a craft all of them because that's the goal So yeah again on-screen as always is everything that you will require and all of that stuff Not too difficult as I said because these ones are super-duper easy basically just go and Buy all of the reagents really the Mandrake for this one probably the hardest bit And this is probably the hardest of all of them to get the Mandrake Mandrake is a pain in the bum to go and get Really the best place is Probably night side is where I generally try and get Mandrake luckily I had just enough So I didn't really have to worry about this, but hey, let's create it spicy chips To Mandrake one simple vial for black coal. It gives it's a level four myth snack I assume it's a I don't know what type of snack it is, but it is Gives one agility to intellect and one strength not too bad Definitely better than some of the snacks you get around the place because Way better than what what do we have? What is the most common one like gummy fire cats and stuff blonde strawberry? Yeah, way better than them, but hey if you want to craft a really simple snack You can go for it. I wouldn't recommend it, but hey, you know, you can do that. Anyway, thank you for watching Remember to leave a like and subscribe if you're a subscribe press the little bell so you know exactly when I post another video and remember to craft outside the box


This concept of how liquid a membrane is, is interesting.  This is an old simulation of why not a pure PODPPC bilayer. A pure bilayer is going to be super flexible and it will even have these undulation motions if I don't subject it to attention. It's literally like a film, very floppy. I'll move this up so that it doesn't perturb my view of you so much. But what if I take this and add some other molecules, in particular cholesterol. Cholesterol occurs in virtually all vertebrate cells but not in prokaryotes. Just adding 10 percent of cholesterol completely changes the properties of the system. The system becomes tighter, it becomes more packed, and as a consequence it also becomes a bit thicker. If we move from, I think that's from 10 to 20 percent. At 20 percent it's an even stronger effect, and at 30 percent of the lipids being cholesterol, it's extreme. This is a completely flat bilayer now, and it's very rigid. It hardly doesn't move at all, and there's almost no diffusion left of the lipids. This is a very typical property of cholesterol. Cholesterol tends to rigidify membranes and cell walls, which is occasionally useful. In some cases we want the structure. In plants it definitely makes sense to have more rigid structures. And in other cases such as my blood vessels, eventually the depositions of cholesterol and everything leads to a very rigid system that I might not want. But note here how the specific composition of lipids, cholesterol itself is a lipid too, how the specific composition of lipids will significantly influence the physiochemical properties of a lipid bilayer. I haven't even started adding proteins yet.