Okay. Hi, everyone. I'm Rachel, thanks. So a little bit about myself before I get into my talk. I have been in data visualization for a while. I got my start at Stamen Design, and then I was doing freelancing for a while, and then up until recently, that brings us to JPL. So JPL is one of the NASA centers. They're responsible for most of the past-earth spacecrafts, so that sort of thing. So basically, you could say that really what my job was was data-vis for space robots, which is how this is pitched to me. Of course, I was like, I have to get to that. So what I was visualizing was telemetry, which is the generic term for data that's transmitted. So over the course of my time there, I worked with four different missions. There's SMAP, which is an Earth Orbiter, dealing with climate data. Cassini, which is around Saturn. Dawn, which is in the asteroid belt. And Curiosity, which is the rover on Mars. So basically, when I was being asked to come and work there, the pitch was basically that Elasticsearch had just come to JPL, and it was this new exciting thing. And then suddenly, search was fast, and so they could return data fast. And so once they had that in place, they needed a front-end. They needed something with D3. And it was basically like, what will you come up with? And I was really excited, like, okay, yeah, I'm going to go to NASA. I'm going to make cool visualizations. Everyone lives NASA, right? So I was really stoked. And it's funny, over the course of time that I was working there, some friends of mine in the visualization world, they're like, oh man, what are you working on at NASA? And my answer was like, well, I'm doing time series data. I'm making line charts. Yeah. And their face would kind of fall.  And yeah, it's time series data. That's what you need to look at it. But I'm ready, here we go. So the thing is that you can see that there's just like this D3, SVD line kind of thing being called, but there's actually all these other things that are going on in the chart that of course I can't really show you because it's all ITAR controlled. But all of these features that we built into this glorious line chart, but unfortunately to you, it just kind of looks like this. And so when I was putting together this talk, I was kind of thinking like what to include, what to talk about. And this sort of gets into the same sort of debate about like UI versus UX, but it's the debate of kind of like what is important enough to be called like the visualization, what do we include? So I figured I might show you the charts in context. So this is what it looks like. And I bet that most of you sort of zoomed in and focused on that chart area. I would do the same thing.  Now the thing that you probably didn't look at is this. And what you can't possibly know is that this took several weeks to develop in both research and testing, prototypes and putting it in front of users and saying does this actually, actively convey your needs. We've got time bookmarks and this varied by mission. Different missions wanted to look at different chunks of time. They wanted to look either from most recent time or from the end time. We've got your start and your end text boxes that has UTC day of year time formatting. And then below you've got this little time slider that you can be dragging to zoom in on the graph. And what you couldn't possibly see also is that that little calendar icon opens up this date picker. You'll notice that there's both the date and the day of year in this date picker as well as the week number on the side. Now this seems like a small and minor detail, but when we were showing this to the missions, it's actually opening this that really got people's attention. They're like, oh, oh my God, I should use this. Because right now their current process is to print out a calendar for each year, pin it up to the side of their cubicle, and then every time they need to convert between date and day of year, they have to go look that up. And so even just having this, that they could click on something and quickly go to the date time that they actually wanted, was like saving them precious seconds. And so people got really excited about that. And so I wanted to address for a bit before I get into the meat of my talk, kind of what we talk about when we talk about visualization, like what gets to count. And to get into this, I want to talk about the sort of design and art spectrum. And there are many different definitions for this, and I think we all have our own. One of my favorites is that design solves problems while art creates them. This is sort of cute and pithy, and like everything pithy, it sort of generalizes. But sort of a more general definition, at least that I'd like to propose for this talk, is that art is sort of about taking your own experience or your own thoughts and kind of projecting it out into the world and saying, hey, you should think about this too. Design, in contrast, is about taking the perspectives of many other people and synthesizing them, saying, okay, how can I build something that many people understand, that many people are going to know how to use, and that will be clearly communicating my data. I think that we like to have data visualization sort of situated halfway between these and say, ah, it's this happy medium where I get to take data, this really cold sterile thing, and I get to apply some creativity to it, and voila, data visualization. I'd argue, however, that it's much more like this, that data visualization is really a subset of design and should be treated as such. Now, this isn't to say that art is meaningless or something and if you're sad about that, there's lucky for you this nice little term, data art. And this is not to be little, any sort of art or side projects or anything that you might do with data. I do this in my spare time, but for the purposes of data visualization in what we are being hired to do as data visualizers, I would argue that it's basically design. Data visualization is not your creative outlet. It's not your free expression. It's not your time to just put stuff on a page. Data visualization is about making data understandable. It's about making some sort of interface that people can actually use and get value out of. So, at this point, you might be thinking, Rachel, what if you just didn't try hard enough?  And that's a valid point. Maybe I'm just bitter. But sort of the answer that I have to that is that when we were building all of these tools, we were doing it with user-centered design. And I bring this up because it was the first time in my data visualization career that I was really able to take advantage of this, both in that the entire user base of the tool was at the same campus as me. And then also I was working within a human interfaces design group. Now, in contrast, this is sort of my process for data visualization, you know, which was sort of like, okay, yeah, I get the data, put it on the page, find something cool, build the thing to show off the cool thing that you found in the data. It's done. And I bring this up to say that I've spent actually most of my career kind of in this haphazard methodology. And I still remember one of the first talks that I gave, I was showing some Twitter visualization and I was showing off all the animation and all that. And one of the questions afterwards is like, oh, how do you know that the visualization that you've built is understandable? And I was like, oh. And I think at the time I was like, oh, well there's no possible way I could have done research because it was two weeks. And kind of like wrote it off, but afterwards I'm like, oh my God, what have I been building? Terrible visualizations that no one actually knows. And I just think they look cool and I've kind of left it at that. So one of the wonderful things about working at JPL was being able to have, taking advantage of these more traditional design processes, which is something that I think that data visualization as a field could stand to take a page out of the design book. We're able to do research, we're able to come up with these interfaces, draw them on paper, put them in front of people, test them, see like, does this actually solve your needs? We are doing job shadowing. How do you actually use your data? We know what sort of things could we help you with? Like what could we build? So for the rest of this talk, I'd like to take you through two features that we built. I figure I'll put my money where my mouth is and actually show you what we made. But before then, I do have to teach you about how spacecrafts work. So hope you don't mind. We're gonna do a little telemetry 101. So there are three main types of data on spacecrafts. There is EHAs, EVRs and data products. EHAs are basically a stream of numbers. So you might have the temperature of a component. So it's sampled at about every 30 seconds for some spacecrafts. And there's also a way to encode states of information. So you might have like on or off as zero and one. And then that gets transmitted over radio waves and then decoded on the ground. Secondly, there are EVRs, which are event records, which are basically a print statement. So for EVRs, you have some logic in how the spacecrafts operating and when certain triggers happen, then you get this console log basically coming out with your print statement. The third is data products, which is this sort of cop out everything else. But this might involve pictures or more highly sampled rates of data. But for the purposes of today, we're gonna focus on EHAs, which are basically numbers and EVRs, which are words. And that's it, see? You've learned everything you need to know about spacecrafts. Okay, so to put this in context, Cassini has a couple thousand channels, a couple thousand EHA channels. And they actually are too old to have EVRs. Which is kind of a funny thing that Cassini, which launched in 97, is too old to have print statements. So they have been doing all of this only with these channels and basically comparing on the different states of the spacecraft, which they decode, and then they line up anything that goes wrong with a temperature going out of bounds. And that's how they operate the whole thing, which is insane to me. Voyager, which launched in 1977, has about 100 channels. And most of them have not changed a value in the last three years. Don has, I don't know, a couple thousand channels and they get about 100 EVRs a week. So for Don, every single EVR is a pretty important thing that they need to know about. It's like the start of a maneuver, the completion of a maneuver. So they take those, there's a lot of weight in those. Don also gets a downlink, which is when the data comes back once a week. So once a week, everyone gets all the data and then looks at it and then if anything goes wrong, they start working out a plan and then send up the data in the uplink. SMAP, however, which is an Earth Orbiter, is a near constant communication with the Earth. So SMAP has about 25,000 channels and they get about 25,000 EVRs a day. So it's just this stream of text. And I've watched people sit there, mostly when they're really stressed out in crisis mode and just watch these EVRs go down the page. And I don't know, it's insane to watch just that volume of data coming through. The Curiosity River has 25,000 channels and about 30,000 EVRs. Curiosity does a downlink about every seven hours. So there's a lot of data coming back from these spacecrafts and there's also a different cadence on how often people are getting data, how often they need to look at it and how much time they have to create the plan for the next day. Curiosity currently has a 20 hour sort of planning cycle where they get the data, they analyze it, if anything's wrong, they go and fix it. If not, they make the plan for the next day. Plan, for example, in this case, would be like, okay, we wanna drive over to that rock to go drill, so we're gonna make a little route according to what rocks we see in the middle and then we're gonna try to drive and if we complete our drive for the day, then we do the next little leg and if not, then we're gonna reroute. It was very complicated and there's hundreds of people around the world working on that one specific rover. Okay, so case study number one. So there was this concept called the Gumball that was there when it came to JPL and this was sort of pioneered on SMAP and Curiosity which are both the more active missions that are getting downlink daily several times a day. So what is situational awareness?   So the Gumball is basically this renamed stoplight idea that there's green for everything's good and then there's yellow alarm and then there's red alarms and your data gets situated among those. Most of these Gumballs were rollups for different subsystems. So you might have the telecommunications subsystem would pick a couple different channels, maybe 10 or so and they would set thresholds for what the value should be and then basically you sum all those up together and if they're all good then you get green and as soon as one fails you get yellow and red. There's a yellow and red alarm thresholds for every channel. So you might be thinking, wow, that doesn't seem like that would be that useful. It's just this rollup that seems insufficient. So when we came in we're like, okay, we're gonna make the coolest stoplight ever, we're gonna redesign this Gumball we're gonna have so much more information. And so we did, we went out and did all this user research, we said, hey, do you like this? People are like, no, I don't. We're like, oh, okay, well then why don't you like it? They're like, well, it's very simplistic. If everything's okay, that's good for right now but is it trending towards something more dangerous? If something went wrong, how do I quickly find out what went wrong? How do I diagnose this?  So this is the proposed design that we came up with. This is for SMAP. This is the nine different subsystems and each subsystem is this, you know, sort of rectangle and then they've chosen their channels and you have your channels that are like a value range, like temperature, you know, has this bar slider showing where in the range it is and then the ones that are boolean that should be like a certain value or a certain limited set of values, those are the solid colors. So green, everything's all good and you see some yellow, mostly the booleans that aren't working but there's also some of the ranges that have been exceeded. That super dense one is thermal because they keep track of lots of things. And so we showed this to people and we're like, hey, look at this, now you know where all the values are within each range, isn't this so much better? And people kept saying, oh yeah, I guess that's better but really what we had built was more like this. We're suddenly, we're just overwhelming people with information being like, okay, there's all this stuff going on and you don't actually know if that's the information that you wanna be looking at at that particular moment. And so at the end of the day, we kind of realized that this is all people want. They want to just have something quickly saying, hey, everything's fine. Now, once it's not fine, oh yeah, then they want all that stuff, top of the information on the screen, they wanna know exactly which channels are in alarm, they wanna be able to get to graphs quickly but until that point, they just want this. Case study number two would be these event records. So I mentioned the EVRs, those console log statements and I was sort of picking this background image to be funny but this is actually what most people were doing with these event records is they were just grepping through some amount of time and then trying to find the event records that corresponded to their subsystem that they needed to look at, which is very functional but it's hard to know what's there if you don't know what you're looking for. So just to show you, this is a table that we built. This is basically duplicating the existing tools that they had right now. So you've got your different level. There's seven different levels. There's three warnings, warning low, warning high, fatal and then four like activity high, activity low, diagnostic command. So you can see how there's sort of this information, it's very text based and there's also a time. Skept is the time component. Fun fact, spacecrafts keep track of three different times. There's spacecraft emitted time, earth received time and spacecraft clock time. Spacecraft clock is an incrementing number and the funny thing is that the deep space network that it processes all this data chops off the millisecond from Skept time. So if something happens in the same second, you have to look at these clock time, spacecraft clock to actually correctly order your event records. Time, it's really hard. So basically what people are doing right now is they had this, like a text box to be filtering down and then when they found something that they wanna look at, that they wanted to examine, they're like, okay, this is an event record that I need to look into further. This is what they would do. They would write it down. They would write the timestamp down on a piece of paper and then they would go to their graph program, type in that timestamp and pull it up, which, wow, that's so inefficient and so that's something that we wanted to improve on. Now I know that this just looks like a simple histogram to you and it is a simple histogram but this is also the piece de resistance of what we were building in so far as Elastic Search gave us these nice rollups. They gave us buckets of the types of EVRs that were coming down. And so we saw that, it was like, oh, we can put it in the bar chart. Pulled that up on the screen and showed people, like, hey, is this interesting? And people were like, oh my God, because they had never seen their data like this before. If all you've ever seen is a table, actually seeing this, like, oh, there's a cadence and frequency to my event records. What? Which, I mean, it shouldn't be mind blowing but it is because you're limited by the tools that you have access to at that time and so suddenly you can see that like, oh, daily there's, when we upload all the commands and diagnostics and it starts the new cycle, like yeah, there's a spike and people didn't know that before. So we built this and I'll show you what it looks like in context. And the other part of that histogram is that we use that as sort of a filtering method so you could deselect types you didn't wanna see. It was also had a nice brush so you could zoom in on a period of time that was interesting to you and filter down quickly in your table to the event records that you wanted to see. And so a lot of what we wound up doing in this project is sort of cross-pollinating these different data types that had previously been very siloed that people had to look, grep through event records and then go to another graphing program that literally took minutes to create a graph with the query that it was doing and then suddenly we had this nice webinar face that these were returning in seconds. And that was sort of, the best part of working on this project was getting people to think of event records as points in time and so we built ways to have event records show up on the graph and so you could quickly jump between these different data types and do these analyses faster. So some lessons learned as we were doing this. So the primary thing in building these data visualizations is to know that user. This is a photo of the SMAP team in the mock. One of the things that's important to note about these visualization pieces is that all of these missions had been running for several years, if not decades, by the time that we came in and so there really wasn't a lot of kind of innovation that we could do of like, hey, instead of you doing your job that you've been doing for several years, how about like I make a graph and then you don't use your job? And like you have to remember that like if someone screws up, it's on them and you can't really fix it. You know, like this thing is hurtling through space. Like you can't get the spacecraft back and so you have to be very, very careful in the analyses that you're doing. And there's honestly comes down to a bit of trust of people saying, you know what, I have my own process and that's very nice that you've made a little web mine graph thing but like I'm gonna stick to my process because I know that it keeps the spacecraft running. And so what we wound up being used for was more anomaly times, you know, when something did go wrong and previously people basically had to do a best guest of what data to look at because the queries took so long and they had limited time before having to make the new plan. And one of the things that our tool was able to accomplish is people were able to look at more data more quickly, cross reference, you know, actually investigate like, oh okay, have I seen this before? When have I seen it before? What is causing this? What do I need to do to change? So we were, you know, not an everyday tool for them but that's okay because they had their process and we were coming in when they already had that process.  But like, you know, for a lot of these people they're in this sort of high pressure time sensitive role and they don't have the time to sort of like play around with something and figure out like, oh, am I learning something new from this? And what's interesting is that when I came in there was actually an engineer on the MSL team who had sort of self taught JavaScript or taught himself JavaScript and then taught himself D3 and was like super stoked that he was able to make visualizations and this kid was like the poster child for this where he would just like add all this stuff and I'd be like, Matt, why are you adding this? He's like, well, cause I can, like it only took me a couple of hours. He's like, now I have a stinky diagram. I'm like, is this useful? Like, does anyone get anything out of this? He's like, I don't know. And so that's kind of what we were trying to not do with our sort of user-centered design approach. We were trying to make sure that people understood what we were putting on the page that you know, it was actually useful and not just kind of gratuitous. And so in closing, I'd like to kind of reiterate that I think that intuitive visualization will always trump shiny and you know, maybe it's a bit harder to show at a visualization conference but I think it's important to be building useful tools. Thank you. Sure, let's do questions. At this job or elsewhere? That is such a good question. I don't think I have an answer to it.  Unfortunately, I have made things that I think are kind of difficult to understand when I was at Stamen but a lot of them were marketing visualizations, you know, it was like the point was to get people looking at it rather than to really necessarily understand the exact percentages of Twitter people talking about Beyonce versus Kanye. So, you know, like, it's kind of like candy but I would try not to go forward in my career and still be pulling in those types of visualizations. So, unfortunately for that question, we basically are not trying to tell a story and that was a very deliberate thing that the engineers that we're working with know how to use the data way better than us and that it's more our place to be building tools for them to be doing explorations. So, I guess my answer is that we tried to build very kind of open and malleable tools, you know, like all of those sort of chart functions on there, like we just tried to build it a lot of features but not force people to have to use them and build it in such a way that if people needed to, you know, that was available for them but it was really up to the engineers to be going through that flow. Excellent question. So, we both met with our customers about every two weeks to do demos, collect feedback, do feature prioritization. We also had like an email link on the site that just said, you know, feedback, hey, and it would email the entire team so that we could, you know, respond to it as, you know, who was the best person to respond. How to avoid people being backseat drivers. I think that really just comes down to kind of establishing your authority, you know, that like you were the designer, you were the person building it, yes, they are the client and yes, they're the person who understands the data better but like, you know, you also have a design background that they don't and that was a thing that came up, a lot of JPL because I think especially like flight software engineers are some of the smartest people and a lot of them are self-taught and they kind of, you know, like, they've done so much in their life so they sometimes think that they know everything and so yeah, this would come up a lot of people being like, well, actually, I just think you should do this and it's like, well, okay, but you're like a mechanical engineer and I'm a designer so I'm going to say that actually it's better to be doing this design work and the benefits of doing testing is that, you know, you can back that up with data and who can argue with data, you know? So if you do enough user testing and you're like, actually, you know, like the way we built it is way more understandable and then this other thing that you were suggesting and so that's why we're gonna move forward with our design. Yeah, so it sort of depended on mission because some of them have larger crews as they're more active, but I would say that there's probably a couple hundred people using the tool. Insofar as it becoming a primary tool, I think it would really have to be in at the ground floor when people were designing the spacecraft for launch. So something like M2020, I think there's a lot of time right now to be designing, you know, the processes for people looking at their data, but it would really have to be from the get-go because once there's a process in place that people are comfortable with, they're really not gonna wanna let that go. Thank you.


Well, thank you all for joining today. Thank you all for joining through the virtual summit and everyone through the streaming. So, my name is Daniel Isciardo, a bit about me to start with. By the way, we are in the talk defining the limits of risk, supply chain contract, Depends on Summit Europe 2022.  Just to say today, I am kind of testing an idea to get and gather feedback from all of you. For the record, I'm the CEO of Vitergia. We are a startup based in Spain. Well, the headquarters are in Spain, but we are remotely based all over the world. We do software development analytics. We help with your OSPO or Inner Source Brown Office is a strategy as well. We do software development analytics, Viterria Analytics. It's based on chaos project. We'll discuss about this later. Part of the governing board of chaos that stands for Community Health Analytics for open source software and MVP at the Inner Source Commons Foundation. So, you can find some more info about me there or if you have any question afterwards or so. You are more than welcome to drop me an email. So, well, first of all, big disclaimer. I'm not an expert in the field of supply chain, but I'm kind of entering now. I wanted to discuss with all of you some topics that I'm interested in. So, the first thing I did was let's go and define what risk is. Basically, there are two main concepts here that were quite of interest for me. First one is basically you need to do certain activity and then things that humans value. So, those two things are of certain interest. Basically, because if there is no value for certain definition of value, you don't care. And that's all right. This case, risk, we are defining risk in different ways. Maybe it's IT risk, maybe it's business. Maybe it's human resources. So, there are many ways of looking at the problem, let's say. Okay, so let's have a look at these parallel wide square or rectangle. Now, let's assume that this is all the source code you have in your company. And it happens that part of that source code is basically developing house. Okay, there is certain percentage. I'm basically making up of the percentages here or the areas. Depending on the company might be definitely different. Part of it probably it's something that you are outsourcing. So, there are third-party providers that may use open source, may not use open source. But they provide something, maybe they are not providing even the source code, may are providing binaries, depending on the industry and so on. But you have some percentage that is outsourced. There is part of that that is directly coming from open source software with companies, perhaps as B30 or others, that are providing commercial support. Right, and basically it's kind of a similar service or so, but they are providing that. And then there are some others, open source software that you are adopting directly bringing from the outside, inside. You go through certain risk analysis. And then it's done. You have a new product, a new beautiful product within the walls of your organization. So, let me simplify the whole corporate ecosystem into this. If we think about the providers, so basically those that are providing the services, we may have the big sun, the corporation in between and then there are satellites. Those are the providers. You may have key providers. You may have smaller providers. So, all the previous way of developing software, proprietary or not, just sharing with you the binaries, et cetera. So, this is like this ecosystem of providers, right? I'm definitely assuming here that we all want to have a healthy providers ecosystem. So, let me have this as well for today. So, why do we want to have a healthy providers ecosystem? Well, basically because we all want to grow together. You are outsourcing part of the discussion or your IT because that's interesting for you for different reasons. And the thing is that you want to grow with them. You want them perhaps to be, to grow a fantastic data scientists team with people there that are part of your company as well. Maybe you want them to be your own, you want to be the only company that they are providing to, let's say in the country or in the region. So then, basically you get an agreement with those people in somehow. But the better they are, the healthier they are, the better for you and for your company. You grow together, right? And then if we think about the different ways that we are measuring risk or how we take care of risk here for the in-house, the outsource, the open source commercial support or the open source software that you are simply taking through certain analysis, the question here that I wonder was, well, how can I take care of all of this risk? And then, well, if we think about in-house, maybe this might be the easier in somehow because you do certain code quality checks, you do certain security scanners. Basically, you go through certain internal process, whatever it is, okay?  So if there is a problem, you have someone you can call at the after all. If you go for outsource, probably on top of what I mentioned before, then we start about discussing about MBAs. You need to discuss about the financial status of that provider. You know, if there is certain risk that that provider may go bankrupt, maybe. So there are other analysis that you are doing around. Of course, depending on the industry, maybe the source code is not provided. For instance, in the automotive industry, things are really closed. So they are provided only binaries. They are serving documents. The process they follow, but you cannot see anything. So there is definitely a lack of transparency, really big. But the idea is, well, you have some tools to prove that there is certain risk under control. If we go for open source commercial support, then we think about compliance. We may think about that you start checking the code, code wilderness abilities, all the things that we've been discussing along the day of the day. And then open source with no support, then it's kind of a subset of the previous thing. So you check the code, you do certain compliance, because maybe you're integrating the code somewhere in your code base, perhaps it's closer to the in-house development. But then I'm missing some things here in the conversation. So first, we want to grow a really healthy provider's ecosystem, that's one thing. So then we do a lot of risk analysis, risk assessment for them, well, together with them. But then for those projects that we are adopting, coming directly from the open source perspective, can I check the financial stability of an open source project or open source community? Probably that's something different, it's something really hard to deal with, right? Maybe we cannot even do that. So what is their history? Can I talk to San Juan there? Can I say hello? I say, hey, we are interested in the project or so. So who are they? Even maybe we don't have that clue of who they are, right? So the thing is that there are some missing points and perhaps it would be good if we can go to those communities and say hello and try to understand how they are, right? Try to go beyond the usual analysis that we do when adopting those software. So coming back to this schema, basically today's presentation is about focusing there, right on the left. So open source software that we are adopting internally but with no support initially or perhaps there is commercial support but we are not interested in contracting that. So we just take the software. So the question for all of you is basically, what do you do with the open source code that you use but there is no, it's not under any commercial relationship or perhaps there is no company behind all of this. And we all do that. Basically there is a library, there is da, da, da. So there is a process, basically, I don't know, maybe the architects goes and decide, well, this software is interesting for us. So we create a product. We do, of course, all of the needed checks for code vulnerabilities, any risk analysis that we mentioned before. We do maybe, of course, open source software compliance, many things. And then suddenly, we have all of this as part of our official take internally. That's good. So the process is more or less like this from left to right. We have the open source world and now we want to have that software within the walls of organization, right? So we want to create a product of that source code. So maybe you are adopting certain amount of code.  And the thing is that suddenly you have this beautiful pieces of software that you have a package that everyone can use within the organization, of course, and they are great, they are excellent, they are lovely, everyone loves them, but then suddenly we have some threats, right? We have some problems. So what do we do now? They are not that lovely nowadays, so that's a problem. Okay, how did we reach this problem right now? So maybe luck for sale or one of those problems that we faced some months ago is a good example, right? So suddenly, you realize that there is a problem there. So welcome to the supply chain con. Basically, this is part of the conversation that I wanted to bring to here. So this is, let's say, more or less the motivation. So my point here is that you are dealing with this open source as a risk while my point is have you considered to work with these open source communities as providers? And it's basically, you know, turning around the discourse is if you have a certain interest or a piece of code that's really interesting for you, it's a strategic for your company, instead of going perhaps to another community or maybe the community doesn't even exist or maybe there are any other reasons. So what if we go to the community? What if we sit down with the community? Because think that typically the way we proceed with communities is that, well, with open source project that perhaps there are certain vulnerabilities is that, well, I don't like this. This is definitely risky. I try to look for other options, right? So then in the call for papers, and this is why I have here, they mentioned these three concepts, kind of in built threads, source code level problems, dependency threads. But I think in these kind of conversations, we should have this in mind, basically countering community threats. My point here today is basically that instead of trying to go for another option or trying to deal with that internally in a downstream version of the software, what if we go to the communities and help them to grow? In the same way that we are growing with our providers, third-party providers, giving like an excellent service, what if we have something similar with the open source community with that source code? We want that source code to be part of the tool chain. So I don't know if this makes sense to you, the countering community threats, but I think it should be part of the conversation as well. How can we define community threats? Well, in the previous talk, there was some discussion about chaos as well. And well, maybe we can define things as, well, the software is poorly maintained, maybe there is a lack of effort over time. I don't know if, for instance, from your perspective, it's more risky to have only one company driving the development software of that project or maybe having several of them, same with individuals. Maybe there is like certain, the vast factor and some others variables that we can discuss about. So I think it's, what is more risky for you? And that definition of risk is something that probably we need to build all together. Maybe a lack of engagement by certain people, maybe the time to close things, the time to answer if you have a question, the time to merge certain stuff, or maybe if this is a lively community or this is not a lively community. These are some thoughts that we can discuss about what does it mean, this concept of community threats? Can we measure that in somehow? Can we measure that in an automated way? Well, you all said some in the previous talk as well about, well, I'm checking the number of people that are contributing there, or maybe the people that left, or maybe the areas of the code that are not maintained, or maybe some other things. But the thing is that we all can measure this. So question again is now bringing to the definition of provider these open source projects. How can I have healthier providers? And basically, and even more, if I can be aware that something wrong is happening, because perhaps one of the things is I want to grow, okay, I buy the idea, I want to grow my providers to have this healthy ecosystem, including those open source projects. But how can I be aware that this is happening, that they are perhaps getting worse, or maybe that they are having like really good, healthy, let's say ecosystem and so on. So there are, you mentioned before, I think the BRICT was one of the companies that is analyzing project health as part of the dependencies and so on, might be one of the examples of someone doing this. The first thing that probably think about this is about money. Well, can I put some money on the community so they can move forward? Maybe they can hire people or not? Maybe they can do things? I would say perhaps money is not the right solution. Companies, indeed, at the very beginning, or when they start in the open source discussion, they go for foundations and say, well, I want to understand a bit more about open source, what do I do? And then they basically bring money to the foundation. But remember, we are discussing about different things. We are discussing about open source projects and not open source foundation. So then maybe we need to start a bit smaller, perhaps, instead of going to the foundation, which is like the big umbrella, the big tent, what if we go to the projects directly, right? Well, basically this is open source. The idea is you as a provider be as transparent as possible, I'm sorry, you as a company, you should be probably as transparent as possible with open source providers as you are with your proprietary providers. Third-party providers are others that are part of your ecosystem.  So can we have a proper discussion with these open source projects? Can we contact them? Can we sit down with them? And can we say, hey, we are using you? We see that you are facing certain troubles in these areas. This is risky for us, for a certain definition of risk. What do we do now? Maybe you can bring resources, people, maybe you can bring maybe money, maybe did money, maybe marketing, maybe you help them to move forward the roadmap. Because the thing here is that if you are using certain piece of software and you are not part of the roadmap, all the others will decide for you. So then that's another definition of risk, right? Specifically in the case of open source. Now being part of the community, defining those likely communities, I would say is definitely something that large corporations at least should be doing. So the previous speaker, reference chaos of course, stands for community health analytics for open source software at chaos.community. You can go there. There are some discussions specifically happening in the field of risk. There is a working group, a risk working group specifically. So you can go there. There are some tools to automate all of this or to have at least insights of what community health is for some of them. One of them is GreenModelApp. Basically what it does is about gathering information from different data sources. Then you have a database with all of the metrics around community, activity, performance, that matter to you. Then with all of this basically what we are building in part of the community and one of the original developers. So you can go and start gathering and aggregating the data which is meaningful for you in different ways. Then at the very end you have some dashboards or reports if you're interested in. And well perhaps the key point here if compared to others is that this is open source tools to analyze open source projects. It works for internal development as well just in case but for the topic of today it's about having an open source option to analyze open source things. Let's say open source projects, open source communities, open source processes. And that's definitely important for the, in the place we are in the Linux Foundation open source summit Europe. Well the terms of the processor or the architecture is you create the ideas that you forget about any kind of data mining problem that you may face. You have everything in one place. And then after this there is like an enrichment process creation process and so on where you have all of the entry indexes and then this is more let's say closer to business whatever it is, you know, risk or maybe community health or maybe for community managers or open source foundations. So just forget about all the technical problems about gathering, incremental support, historical data, GDPR and then focus on the business on the data that you need to gather to make the decisions in the right way. Really simplifying everything and let me check the time. Okay, I'm really quick. The idea is we have a software bill of materials that by the way there are some for SPDX you have some sections where it's not mandatory but would be useful if you add basically your data repository or your data organization because if that's the case then specifically using certain tools you can automate the process and then suddenly you have like a table with a list of metrics that matter to you for a certain definition of risk. So basically you can automate the process and you can have these community threats metrics if we define them in that way. That's one tool and then you have community metrics. Business risk in the chaos community we are working on these definitions. There are some of them but if and I assume that you have other point of view or comments please come to the community show your thoughts and we keep growing. So there are some definitions of what this means. For instance in the risk working group we've been working on well maybe the metric of average issue resolution time or the vast factor by the way if some of the main developers core developers leave the project for any reason so is the project sustainable over time? So that's a definition there are others as for instance the elephant factor which is similar in these cases about companies or basically if there is only one company leading the development process what happens if that company disappears? Is the project dead? Is the project sustainable? Is other companies around that can take that lead? So that's part of the discussion to have internally in your OSPOP or wherever you are making these decisions. The age of the issues, the volume of them, basically how many of them are around, lines of code, you know how this is aligned and there are many others so we can discuss for instance about territoriality. So territoriality might be a metric that measure the percentage of files that are modified just by one developer. So if we have a really highly territorial developers is that a risky factor that we may have? Probably yes, it's about adding more metrics here. So if you have thoughts, can please come to the community so we can have these discussions and we keep growing together. Just as a call to action or so, well I would say my, the general feeling when you go to all of these supply chain analysis providers or so is, well we can, we help you to decide what's the best piece of software for you. But my point is, well treat your, work with your open source projects as another provider. So if you, in the same way that you are working with other providers they are important for you, they are important for your ecosystem. So work with them, sit down with them in the same table and then instead of running away try to build something together. So let's change a bit the focus on how to deal with open source projects. And this is it. So I would like to know from you, from your comments, I've been quite fast. Sorry, I just had like two coffees. But anyway, any comments, questions? Does it make sense to you? There are some people noting. Have you ever considered to deal with your, risky open source projects perhaps as a provider? Does it make sense perhaps? Any experience in that way? It's the same thing you do with it. Yeah, exactly. So what do you do if there is an internal development in struggling? Oh, for the people in the streaming. So basically the answer is, it's about understanding where the problem is and helping them to move forward. Yep, that makes total sense basically. More experiences, no more comments, questions, I know. Yeah, that's a very question. Well, it's basically a synchronous communication. So you will send probably an email or try to go through their communication channels. So there is certain research about entering into the project. By the way, the question for the people in the streaming is about how difficult it is to get in contact with the developers or with the open source project. So ideally, with all of the open source projects, they have like a website that you can enter, you can access and then they will define or detail the different communication channels, the license, the mission, the vision, where you can find the source code, et cetera. Is this difficult? Well, it will depend on the community. Ideally, you can go to the email, to the mailing list or to the channel they are using for communication and try and say hello. Hi, I'm having these problems. I'm facing this situation in my company. I would like to help here. How can I help? We have maybe a team of interested in moving forward with the project, helping there. It's about having a conversation. Behind all of these projects, there are people. So there are people with interest. It's about having a conversation, I would say. Or comments? Questions now? Okay, so we can close for today, I guess. Thank you for your time. Okay.


Typography Society of India is a collective of letter form conscious people who are enthusiast about calligraphy, typography, handcrafted letter forms and this is a platform for different people, students, academicians and professionals to interact with each other, share ideas and learn from each other. First, on behalf of the Typography Society of India, I wish all of you a very happy and safe Bivali. The first activity we have is a set of design lecture series and today we have a very esteemed scholar in the area of calligraphy and iconography, Mr. Parameshwar Raju. I would like to thank him for accepting our invitation to be a speaker today and I would like to introduce all of you to this very interesting personality. So, Parameshwar Raju's creativity as a calligrapher, designer, researcher and an artist is celebrated all over the world. In his work, we witness a new style of work which can be called iconic calligraphy. This is the first time I am seeing a person, a calligrapher, using calligraphy to make illustrations and narrate a story through them. It is very interesting to have a look at his work where not only with letter forms but he extends that calligraphy into a narrative style. So Raju engages with a distinguished form of expression that traverses both traditional and contemporary terrains. He is a graduate and applied art from Government School of Art Aurangabad and did his master's in typography and visualization from V.A.M. University, Aurangabad. He is a recipient of many awards including the state award from 40, Sriramulu Telugu University, Phoenix Art Festival, etc. He had a long career in advertising with many reputed agencies including Mudra Communications, Everest, Lintas, etc. He is also a member of our advisory board for the Typography Society of India. If you look at his illustrations, you will see how beautifully calligraphic style and calligraphy can be used for iconography. He has developed a very unique style and he uses his research and his deep knowledge in Indian grid structures in his work and he develops a lot of visual styling and using different kinds of brushes and nibs and different textures and he reveals a story about it and last so many years he has done a lot of research in the area of traditional grid structures in India, in Indian craft, art and design and he is going to share that knowledge with us today and I'd like to share this wonderful image with you. This is one image he sent me and I was privileged to get this from him on the day of Teacher's Day, on the occasion of Teacher's Day. You can see how using a plant nib he has created a wonderful illustration, a painting in which a teacher and a student is shown and today he is going to talk to us about traditional grid systems of India. Over to you, Mr. Parameshwar Raju sir. Namaskaram. Today I would like to share with you the knowledge of the traditional Indian grid used by the craftsmen in India. It has been a practice in India. The children at the age of five are made to listen to the sounds of nature, see the flowers, the mountains, the skies, the wind, feel the wind, the water, the sounds of the streams and then they're initiated into the basics of the craft practiced by the parents. In India, the grid was always a part of tradition and it has been practiced with the faith to the extent of religious doctrine. It has a large variety in form and application. In the past few centuries, the meaning of grid has shifted from interface between physical and super physical worlds to interface between physical world and its perception by the rational cognition. Process of creation is an initiation and a sharing knowledge of the craft and information gathered and referred from nature. Listening, seeing, feeling, understanding and experiencing the physical forms and worshiping this source of creation gave an immense joy of being part of it. It was a source of wonder and an aesthetic which made living a wonderful experience. Life in nature and its adaptation to its surroundings was a visual experience. This knowledge led to create things. The basics were from nature, the geometry to the existence and the functions of the five elements made creating of objects with added functionality a joyful experience. From making of houses and shrines to toys for children to weaving to cultivation and gathering of food to making of vessels for cooking and using fire as a source of energy have a reference in nature. Looking for an answer or an idea is unique. People in various geographical regions have created and adapted things for the requirements which are related and refer to their surroundings. Hence the change of aesthetic and functionality of things created. There is so much creation around us. Being part of this creation helps in understanding nature better. One tends to look inside oneself and share that experience. The experience is different hence the variation in the same idea which makes creating an object exciting. This started a process of great width and within the communities. The exercise in this set is creating a product and images from shared information from nature. I have tried to use this aesthetic in blending it into the narrative of nature. We start with circle and line. The circle is the feminine principle and it makes you look towards the center. It is static and it has space. The line is the masculine principle. It is not creative until used. It is dynamic free running into space and unlimited or infinite. The line and circle brings one to a conscious state. The mind is able to see boundaries and returns an awareness of self. There are two ways of seeing seeing in a linear way and seeing together as a whole. The circle is the universe. The breath of life is contained in its form. The circle consists of a center and has a boundary. The center is the support called the Bindu and is stable like consciousness. The circle is divided into two by a vertical line and then into four by a horizontal line while the resulting four radius and the four corners of the universe and the four directions northeast, southeast, southwest and northwest. The line is the support of the composition on which one builds the image which corresponds to the elements and to the gods. Straight lines are like the rays of light as the creator divided the world. From these intersecting lines a square is formed and the diagonal representing the winds. The points are added. A square is formed. The square is Ganesha. The Kilpinjara binds and energizes the space and links to its surrounding spaces. The idea of the Trihuta. The triangle represents the concepts of fire and humanity, verticality and characteristic of the human species. It is also believed to be the axis on which the universe evolves and the links between earth and human mankind and divinity. The union of these two opposites of fire and water that creation arises and it is by their interaction that is ceaselessly vitalized and maintained. This symbol is known as the symbol of attraction of opposites or the Akarshani Yantra. The grid is a matrix of five lines by five making 16 identical squares or rectangles intersected by two diagonals. This recalls the original creation of the universe when Purusha the cosmic form sacrificed himself into 16 parts. Here you'll find the markings of fire, earth, water, air and space. Now I'll take you to a reference to these elements in the five temples in Tamil Nadu. The first one being a Kambureshvara in Kanchi which represents earth. Where Parvati comes down to earth to worship Shiva. The next is Jambukeshwara in Sri Rangam represents the water element. Arunachaleshwara in Arunachalam represents the fire element. Sri Kalahastheshwara at Sri Kalahasthi representing air where it is believed that the spider, the snake and an elephant looked after the Shiva Lingam in different periods of time. Dillai Nataraja at Chidambaram representing space.  Coming back to the grid, the bottom row of four squares from the foot to the knee represents earth. The next from the knee to the navel represents the reproductive energy. The third from the navel to the neck is the area of flight breadth and the top from the neck to the crown is the area of divine light. Coming to Bindu the basic element. Bindu and its living areas when Bindu expands in space in a lima surface becomes a circle and then when it expands in space it becomes a sphere so the circle and sphere are basics. Formation of a triangular space is with intersection of three lines and when these three lines move away from each other you get a triangle and these triangles are Shiva and Shakti or it is fire and water and when they combine they form the Akarshani Yantra. The combination of Shiva and Shakti or water and fire represents Ganesha in the square form. So whenever we start working on a given space we consider that as a holy space or a divine space. These are the five basic shapes representing the gods. Devi is an inverted triangle, Shiva is a vertical triangle, Surya is a circle, Ganesha is a square and the disc is Vishnu. The string and the nail. In the Indian tradition we use a string and two nails for drawing the basics. So here we see how with that we can draw a circle. Here it is creation of the polygon, the triangle. Creation of an equilateral triangle. These are all basic geometric forms. Creation of a square. In the Indian tradition we are taught to go into the forest, to the mountains, to the riversides. Just to see nature, how the construction of various elements in nature are from the leaves to the flowers, to the rocks, the way the water flows, to feel the presence of energies, to feel the emotions, what we relate to. And here are a few examples of flowers which can be used as a reference point for design construction. Now we are trying to mimic what we saw in nature. Say here the example is flowers. So we're taking a four petal flower and we're seeing how it can be geometrically drawn. So we have the vertical line connecting the centers. Then you have another horizontal line connecting the centers of the two circles. The combination to make four petals from the overlapping circles. Then the construction of the square in the overlapping circles. Dividing the square into half diagonally and construction of the octagon by drawing their dynamic square. The two static squares and the two dynamic squares. The outer square is divided into four and then to 16 smaller parts. The space division of the octagon in which is inscribed the square in a circle. The eight spaces formed represent the eight directions. In figure one the circle is dynamic and in motion. The repetition of the dynamic circles shows strength of the given space. An equilateral triangle is formed with the third circle drawn with the center point at the intersection of the two circles. As the circles move apart touching the circumference of each of the circles another triangle is formed. A combination of four same sized circles. A grid of nine equilateral triangles and its multiples. This suggests the basics of how our ancestors trade learned from nature and started using it. These are very simple exercises but this can become very complicated as you go into temple constructions or design you know creating bar sleeves and designs. This is the construction of a hexagon and its possible repetitions. Intersection of six circles which become the centers for another set of six circles. Then you have the construction of a hexagon. This is the construction of a five pointed star which represents earth. Construction of a 10 pointed star overlapping of two pentagons and then construction of a 10 pointed star resulting in a flower pattern. Now this up we start developing spaces and then we start using different decorative elements in these spaces to create beautiful mandalas. The measure of five. The potter on his spinning wheel makes beautiful shapes of pots and each pot has a proportion of one is to four, two is to three, three is to two and four is to one. These are because of the five fingers and the variations are one is to two is to two, two is to two is to one, three is to one is to one and one is to one is to three. Here are a few references of pots made for the temple of Jagannath. These are cooking pots in the Jagannath temple with the Shanku Chakra marked on it, is the water pot, another water pot, the third different style of and that is the Gulak where you put in small change so that during festivities that money could be offered in the temples. Now comes the rhythmic measure. Rhythmic measure is the measurement of the human body with the expanse of a palm from the thumb to the middle at the top of the middle finger. The length of the face within figure one length of the kai chan. Kai chan is in Tamil where the kai is hand and the chan is hand spread corresponding length of the face and the hand is the measurement of the body in terms of the fingers, the phalanges, the face in the shape of Tamil letter V and the mango shaped face, the egg shaped face and the season shaped face. I shaped like a fish, I shaped like a lotus, waist following the shape of a damru, waist shaped like the vajram, the arm shaped like a bamboo, the belt also shaped like the head of the bull. It is considered in traditional Indian sculpture that the gods are created with elements from nature is actually indirectly worshiping nature than the god forms. Coming to mukku. Mukku is the rangoli. The mukku is considered representation of the universe on the on earth. So wherever you draw the mukku is representing that universe in that particular spot to make it energized. They have different names and these are some of the very old mukku designs which all have a name. This is Chavanthi pattern of chrysanthima. This is swastika with lotus pattern. This is the Navikamala pattern. This is Chandu pattern of the bull. This is Ghatradha pattern or the bundle. This is taken from Maharashtra. This is Anantasana pattern, the seed of the Ananta flowers. This is Vaishvadeva Kunda pattern or the fireplace. That's where the homums are done after they draw this figure. Now coming to the Yantras. These are symbols which are used. The first one is static, the bindu. The second is expression of bindu through the radius of desire. The vertical line is desire, activity and dynamic. The horizontal is stability, shortest distance between two points. There's a static bindu and there is another dynamic sum. There's the upward movement, the downward movement, addition, subtraction, division, multiplication, expression, dynamic. Static earth, dynamic. Preservation, balance between static and dynamic. Districted expression is static. Districted expression, the top is equilibrium. The vertical triangle is expression, dynamic, upward movement, fire, mail. The downward pointed triangle is downward movement, water, female. The Akashini Yantra condensed is equilibrium, dynamic and the non-condensed is equilibrium, static and the five-pointed star, the earth. Clockwise movement of creation is swastika. The flipped swastika is counter-clockwise movement, destruction and dissolution. The swastika with diagonal lines and the four dots is symbol of form in Ganesha. The next one is om in swastika. A circle is space and the other is expansion. Expression, manifestation, as they call it, we have the circle with eight petals, each petal showing one particular direction. In Ayantra, east is at the top and west at the bottom, south at the right and north at the left. This is based on the marking of directions based on the sun. It's very interesting that when it is, when the markings are done on the ground, a pole is fixed on the earth and then they wait for the sun to rise, singing songs, singing bhajans and playing a rhythmic beat. As the sun rises, they worship the sun and they start marking the shadow of the pole to get the western direction. Then they mark at noon the shadow where it falls and then as the sun sets, they mark the east. It is never a straight line and it is a curve and this curve keeps changing daily because of the direction of the sun and the earth is never the same. That's the reason why we have interesting things happening in various temples because that is the day when the temple was built. The construction of the Ayantra. Now, Ayantra is not something which is very holy or auspicious. Ayantra is basically a design, a drawing. This is the Ganesh Ayantra. Similarly, we have Yantras for various gods and Yantras for various gods and these are also used as measurements and these are also used as elements for the five representing five elements. Arriving at the final reconstruction, the square representing Ganesha. We call it Ganesha because it's supposed to be the divine space and how we put elements on this to create design. It's further divided vertically and horizontally by segments F, H and E, G. These represent the directions east, west and north south. These are further divided diagonally by segments D, B and A, C. These represent the other four directions. The intersection point is the Bindu. When there are two points, they tend to attract each other or there is an unknown line which is reacting between those two points which we call as the energy lines. These energy lines between the points are joined. These energy lines between the points is joined to identify the flow of energy between the points and then you draw a circle. Same with the dot of the square is marked for the visible area. This is based on the human condition where we tend to see in a circular space. When we focus at a point, we only see that point and the little circular space around it but the rest of it is out of focus. That's the reason why we draw the circle to mark the area which is visible to the eye. The following arcs F, E, H, H, G and GF are to help move the vision towards the outer area of space and F, E, H, G and GF are also connected to mark the flow of energy and to contain it. A half circle, same width as that of the square is placed facing the sides of the square forming a four petal flower. This is the space with the maximum hot points and the four hot points between the petals hold the energy levels together. These are four circles, half the width of square are placed inside the square as shown. These are the visible areas in the quarters A, F, O, E, F, B, G, O, E, O, H, D and O, G, C, H. They also face the directions of northeast, southeast, southwest and northwest. Similarly, four more circles of the same size are placed facing east, west, north, south and center. Now instead of four circles, you could also have three circles taking reference of a three petal flower. This is the yantra, the grid for space division and management of space. To this, a layer is added to divide the square into smaller spaces of nine into nine units. This helps in managing the hot spots in the given space. You could also work on any number of units divided into any number of units. I generally use 30 by 30 because that is that I found to be very easy to work. Each of these squares could be further divided into 10 by 10 or 9 by 9 so that you could get more details in those given spaces. Now drawings based on the square grid. That's Durga and that's how it looks once it's finished. That's Matsya, Chamundeshwari, this Garuda and Anandthasayana. Coming to my calligraphic work, this is Buddha under the people tree, Ganesha and other people playing musical instruments. That's representing Balaji, Venkateshwara in Tirupati with Hanuman and Garuda. That's Nandi, the bull. On the hump, they put a snake and they sing bhajans and take the bull all around the village for people to worship. This Krishna, the cowherd, that is Adinatha. Adinatha is represented with an animal, the Nandi, that's the Dasavatharas, that Shiva in the form of lambs and different Nandis sitting all around. Now coming to nips. These are the nips I use and these are the vessels I use to hold the ink. I use them so that they don't spill and this round container at the bottom has four projections so that the surface of the container doesn't touch the paper so I can move it where there's no lines and then take it very close to the place where I work. This is how it looks from the top and this is one thing which is so sturdy that it does not move one and is not spilling and you could actually take it very close to your work area. The nips need to be cleaned immediately. It can't be left dipped in for long periods of time so immediately it needs to be cleaned with a tissue paper, wet tissue so that the ink goes off completely. Avoid using warm water because it spoils the nip and don't keep it in ink for very long time. This is the container I use for cleaning my nips. The reason I use a metal container is to hear the sound, the nice tingling sound when I wash the nips when the nip touches the surface of the container. If it is a flat sound that means the nip is not clean but only when you get that nice sound that you know the nip is clean. Now I'd like to share how the products can be designed using this square grid. Usually what happens is we all as human beings have an aesthetic sense. It varies a little bit from person to person and what we are actually doing is by using the grid we are trying to tune in everyone to the same aesthetic as possible closer to nature. These are mobile shrines. You see how the grid is used to divide the spaces and mark. This is how they look. You open it up to have a small medallion with a guard which is worshipped. These are water vessels, vessels for panchamberat, the kala shams, the jambo for milk and water. Usually what happens is the puja room can spill a lot of water. So what I've done is I've used thick vessels and the lid is also very heavy. This is a combination of bronze and copper. This is a lamp with a lid. These are small lamps but they light up for about three hours. Another lamp. There's a multi wick lamp with a garuda on it so you know it is Vaishnav. If there's a trishul then it is Shaivite. The Agarbati stand, the dhubh stand, Arti with a stand, the vessel for flasks and offerings. This is another vessel for flasks and offerings. There's the shatkam where the feet of the god is marked, generally used in the puja room for prayers or to get blessed. There's the ganta.  It has a small string to hold and it has got a very peculiar shape which emits out vibrations which clears the mind completely of any thoughts. Then the Ariti stand. The peacock is there in the center to represent that it is being used in the Jagannath temple of Puri. Kanchamur Thala. It has the markings of the Shanku Chakra. The Shanku is on the top and the Chakra is at the bottom. These are very traditional vessels used in North Andhra Pradesh and Orissa and parts of Bengal and Assam too. The Guinea with the Bhatti glasses, Sembu, Goti, this is the Ghora, Pujo, Bindi, whatever. And that's the Gulak in Kappa. Offerings which are collected over a period of time kept in the puja room and offered in the temples. So these are some of the designs which could be done in the grid, not only used for creating products but it also can be used for creating fonts, for logos and trademarks, for interiors and for even architecture because these grids are used for temple architecture. You could have your own grids. You can create your own grids using your own reference material from nature and make your designs look very unique and different. Enjoy designing. Have a good time. Namaskaram. Kanchamur Thala. It has the markings of the Shanku Chakra. The Shanku is on the top and the Chakra is at the bottom. These are very traditional vessels used in North Andhra Pradesh and Orissa and parts of Bengal and Assam too. Okay, so I think Facebook Kulaiya was finished. YouTube is having I think next two minutes time. So there is a 30 second gap for us to go live. I think Amogh will tell us when are we going live. Yeah, you can go ahead. You can go ahead. It's like. Okay. Raju sir, thank you very much for the wonderful talk. We are all looking forward to hearing about the traditional grid systems. I will start the question. The first one is, do you make, it is from Tarun Deep Giridhar, Professor at NID Ahmedabad. Do you make your own inks? Please share. Also is the container of some special metal. I don't use my own inks because it's very cumbersome and takes a lot of time. I use Vincere and Newton and when I don't have those things, then I get into pigments. The vessels I use are traditional vessels made of Kansha that is the bell metal because when you clean the nib, if it hits the side surface, then you get a that sound. So when it hits the side, you get a nice tingling sound and you know that the water has moved in between the nib. So that's how you get a idea that you're so engrossed in working and cleaning. You really don't know whether the nib is clean or not. It's only that sound makes you know that yes, it is clear. Okay. Another is about calligraphy education. What is your take on this that the need or how is it taught in design schools or applied art institutions? This is a tricky question because if you really want to learn calligraphy as an art form, it is a different thing. But if you practice calligraphy, it actually improves your thinking capacity and you start being more concentrated in terms of what you're doing because you have to be very meticulous. That helps in other areas of work. You tend to be more meticulous. You tend to actually see what you're doing. So it helps in other areas of work also. Now calligraphy is something which makes you very meditative and gives you peace of mind. So in between when you're doing work, you just do a few scribbles. Then you can go back to work again. Now about calligraphy education. Sadly, what has happened is we follow the western method of calligraphy. Even when we do our own traditional Indian calligraphy, we tend to mimic the west in terms of how they do their calligraphy or how they place their alphabets. One main thing what we need to understand is we have a calligraphic practice, maybe much older than what was in west, but the only thing is we have forgotten about it. All the handwritten texts are nothing but calligraphic works of art. We have had two people working on apotheos. One was an artist who used to paint, who used to visualize and draw the figures, and there used to be one person who would actually do the writing part. If you see the old miniature paintings, you'll find that the artist who has done it, his handwriting would be pathetic. You know, he's very difficult to read, but he does lovely drawing. But at the same time, there are a few pieces where you see that the calligraphy or the handwritten part, the text behind the painting, is equally beautiful. So it is actually, I think it depends on how the person has taken over in terms of doing both the works of writing the poti and the pictorial portion of it. And what is your viewpoint on this calligraphy training or at least introduction to calligraphy? For school children because otherwise there is a lot of this ignorance about calligraphy in Indian languages. This is, I think, because we have stopped using the fountain pen earlier at least used to be a certain method that teachers used to teach us how to write. But as the fountain pen has gone, we started using ball pens and gel pens and things like that. So we are really not bothered about the character of what your writing is good. But 100% it will help these children to concentrate because it is an whole process of exercise of cleaning the nibs, filling ink.  It gives you a pause in your work. That is one. And the second thing is it gives you an understanding of how to keep your things clean.  And calligraphy does help because what I've seen is people who practice calligraphy from younger age, their understanding to things is slightly different because they see things in a different way. Okay, would you please elaborate on that? How do they see things in a different way? See because what happens is they are forced to do a certain exercise. The ink has gone over. They need to clean it. Otherwise it cannot write. They'll have to spill ink on the paper for it to write. So this is and then they'll clean the nib. They'll fill ink. This is a process which is stuck in the mind that you need to do a certain thing to do certain work. So indirectly what happens is whenever they're doing some work, they tend to see the other things which are also required to do that work. It is a very subconscious thought which is put into the mind. Would you please share your own experience? How did you get into calligraphy and... Oh, that's interesting. I think I studied in a Saini school, Saini school Amaralti Nagar in Tamil Nadu. I couldn't join the services. So my father thought I should do something very different, not go to the regular colleges. So he put me in an art school. I didn't know that I was joining an art school. He joined the art school. But what happened was after I joined the art school, I realized that it really made a lot of things interesting because I was taught in a Marathi medium. It was a Marathi medium school and English medium. I was the only student who had a problem. But I enjoyed the classes because there used to be long classes taken in the native language. And then when I would go and ask my teacher as to what it was all about, they would give me a gist of what actually they taught. And that made me go to the library and read her books. So my education has been in terms of what I learned in the class, what I could understand the long lectures, plus to understand it a little more better in a language which I knew, I had to go to the library. So my information is much more different from what the others had. Over a period of time, I started enjoying the work because it was creating something new. I was lucky to have four professors who actually got me into this design and understanding what it is all about. My first teacher was Mr. A.K. Ramavarma of coaching. He taught me actually the simplification he would show us how to sketch in school. And he would say, how if you one dot a few lines here and there would become a man and things like that. And nature. So he taught us to see, because of the way he used to sketch, we used to see nature in a very different way altogether because seeing it in simplified forms was more fun. When I came to the art school, Professor S.V. Pencer taught me the craft of writing the Dev Nagu script. And I learned the Pothi writing from him. And then we had Professor Lokhande who taught me how to see, because there's a lot of difference between what is good and what is bad. Usually what happens was we see a printed version of a design and we think it's beautiful because it's printed well. But we don't really see whether it is good or bad. And to understand whether it's good or bad takes a lot of time and understanding. And if you're logical, then it becomes so much more easier to figure out whether it's functional or non-function. Then we had another professor, Inglay, who is head of painting department. He used to paint with rollers, big from small rollers to very huge rollers. And one day he showed me his sketchbook where he used to sketch only with a calligraphy pen, because it mimics the way he painted. So we can actually try and work out our own methods, our own ways of using the nib. You really don't have to use it only to write the alphabet. So there's one question. How is calligraphy in Indian languages different from what is done in English? Yeah. Now in English, what has happened is you have one strange character called the capital letter. And then you have the lower case. We have the upper case and the lower case. In Indian languages, we don't have the upper case. We just have the regular body and the script. In English calligraphy, what happens is you tend to enlarge the capital letter and then try and fill letters all around. In the Indian scripts, it's purely to write a text. If you don't see the manuscripts and if you compare calligraphy manuscripts in the West are similar to the manuscripts in Indian languages. Only thing is ours are not so decorative, but in English they are very, very decorative with the Western context. In the Indian context, we have a visual to illustrate what has been written, which is not so much in the West. And then the decoration of the manuscript is different in the Indian conditions and in the West. Indian conditions, it is very, very decorative without the alphabet involved in it. But whereas in the Western or the English calligraphy manuscripts, you'll find even the decoration is around an alphabet. Sir, when did you start using the calligraphic style for the iconography like a painting? Because generally calligraphy tools, generally calligraphers tend to get overwhelmed by the letter forms, but you have gone to a very unique part. See what happened is first thing is my language is not Hindi. So it is a different language for me, though I learned to read and write. So I thought, why should I use the grammar of what the way the teachers teach you? They said, it has to be a vertical stroke. It has to be a particular curve. Then only it makes sense. I said, why not I do something completely different. So I started writing it in a different way, but it still read what it was supposed to mean. So I created a very different style of writing the poetry. Then I realized that I need to also do an illustrative portion. Why should I do an illustration which is completely different from the calligraphic style? So I started using the calligraphic tool to basically draw things. So I started off with ohms. And then over that slowly, you know, it became stylized to human figures and then it became a narration. Then I added the text with the illustrations and then I stopped the calligraphy completely in terms of the written word and I used the tools only for drawing. So that was the transition. So from 82 to 2003, I've been on 2000, till 2000 I was doing the calligraphic script. I mastered it. And then I left it at the tent around 2000. And then I got into the drawing mode. So is there any, what is your methodology? You follow, do you follow anything like that when you create, for example, the Krishna image which you showed? Yeah. Or the teacher's day when you showed, you know, teacher and the student? Yes, yes. Now my references, I've been traveling quite a lot. I've been traveling but till I got into advertising, much of the time I used to travel and later after 2006 I've been traveling and trying to generally get references and, you know, for my grids to understand the grid better. So I used to travel and I used to go see houses of various people, how they've been made, how the temples have been made, how temples are different from district to district. The basic construction is different. And if you go further like north of a state to southern state, you know, say in Andhra itself, Northern Andhra has got the Oriya touch. The Southern Andhra has got the Tamilian touch. We have the Huisala touch in parts where Karnataka is bordering us. So we have a different style of working and then that's when I realized that what I was told that nature is more important because these have got completely references to what is available in nature in those particular places. So division of spaces which is most important can be identified in these places very uniquely. And the five temples I was talking about in the presentation, they have a lot of references of the elements, how they're depicted, the fire, water, earth and things like that. So it's a learning lesson to go to the temple and then just enjoying seeing the figures and how it's been divided. Much of my reference points has always been the temples. So even the drawings what I do give a very structural look to it because I try to imitate the shadow with the nip and then the empty space is the other surface. So when I'm working in those lines plus the character of the nip itself into thin thick and thin line, I think makes it all more interesting. And this temple architecture itself has a lot of relation with the grid which you showed. It is all based on the same basic grid and what is your observation on that? It's been interesting because what has happened is culturally we are so different people from place to place and not only place to place in the same state itself, community to community, that you find say for example a cobbler uses the same grid to cut the leather. But a person in Tamil Nadu cuts the leather in a different way, the same person in the border area of Andhra cuts it in a different way. The duels are same, but it's just the angle in which the cut is different. Similarly in architecture we have, it's actually quite interesting because they went into space like there's this small thing which I worked on and see this. Now this is a glass cube. What I've done is I've actually engraved the grid on it. So the understanding is to, suppose you put the stand to this and put an image, you know exactly what is the, at what distance is the small unit is easier to expand or reduce or to see the visual area of that figure in that height. So this is very interesting because in the temple architecture you have the same thing, what grid is drawn as a floor is also on the vertical wall and mimicking it is being so easy for them to do. Similarly this can be used in houses in terms of having a grid, in an optical grid. So you know exactly what to put on the wall at what level. Because in this, the concept of square and cube and that space, three-dimensional space, it has got a lot of importance in the Indian classical dance form source. That's true. That's true because what they have done is the figure and the joints, usually the joints of a body and what are the maximum possibility of, say the wrist cannot bend beyond a certain area but on the other side it stops at a certain area. But because somebody is more flexible, if they tend to bend it more further down or either way it looks odd. So what has happened is in the dances or in the music industry, whatever, when they tried the notes and all, they follow a certain pattern instead of extending it but they start repeating it at the shorter interval so that the melody you know it changes and then you enjoy that because it has got that rhythmic pattern. In the dance form or even in theater, what happens is when you do a stage, this is what I learned when I was in Avangapad, we were attending stage lighting and that's when I realized that there's so much importance to the height of the person who is on the stage and to related elements which are kept all around. So then one day Pula Deshpande said, no look I'm sitting on one chair and I'm just reading it out narrating a story and it looks interesting because I'm just lit and the rest of it is dark. It may not be like that but that's the way people are tending to actually think whatever and narrating their thinking in their own terms. So there's a lot of link between all this. And over the last few years you might have noticed that there is a large number of youngsters, a very good thing, large number of youngsters in India who have taken up calligraphy very seriously. And it's so refreshing to see their work, especially in the last two years. So what do you have to say in the world of advice to them, the budding calligraphy? The first thing is they should stop going to the fonts, go to the net and then copy from that. There's one thing they should not do. The second thing is we need to learn the classical scripts. There's no doubt about it because that gives an understanding of the tool because those tools were made for those scripts. So you need to understand the tool and for what it was actually made for. And once you understand that script and understand it better then you should start having your own style of work. Every person has got a different way of writing and that writing, if it is done with a calligraphy, creates a new font or a new style by itself. And it should be more for pleasure than if it is not an art school student, it's more for pleasure. But if it's for an art school student, it is more to understand spaces. How will it help if an earlier introduction to calligraphy is done at school level? It'll be nice. It'll be nice because what happens is it is not calligraphy itself, but it should be also related with drawings or something like that or carpentry because that gives a different understanding and it somehow links. If you just teach calligraphy what happens is they think it is additional wasting of time. It should not be that way. And the parents have to be educated that it is very important to do calligraphy also. And what inspired you to take up this research into the traditional Indian grid systems? Yeah, it was very crazy because whatever I learned in school and whatever books I referred, they were all western. We don't have any Indian design thing and very few books available, which I got to know about them much later, which I wish our libraries taught those books. It so happened that one day my grandfather wanted me to take him to Ellora and then he told me whatever I was talking was rubbish and then he taught me what the Indian grid was all about. And after that he left our home to stay with my uncle for some time, but we lost him. So after that, because I didn't have full information, I started researching as to what this person was talking about. Until then, we were not told about a family background. We just kept, it was not told to us because they wanted us to live in a different world together. And that's when he told me about how the family was involved in art and literature. And the temple, the idol which is worshiped in the temple of Puri, the Utsava Murthy, that is done by my great grandfather when it was damaged. So when he gave that reference, then I started, you know, actually researching towards what was the possibilities, why did he say and what was its use? And then I realized that it is there all over the tracks. Everyone uses the same thing knowingly or unknowingly. Okay, so we'll come to the conclude here. So thank you very much, sir, for knowledge with us. It was a wonderful experience. On behalf of the entire family of typography society, I would like to thank you for accepting our invitation and for blessing us with your talk. Thank you very much. Thank you. Namaskaram.


and a man who just picked up his 200th career victory and more importantly is back in the NCAA tournament with a Matt Commonwealth championship win. He is Coach Paul Cantabena. Coach, first of all, congratulations both on the championship and on win number 200. I know we're not gonna go too much into personal accolades, but it's gotta be somewhat meaningful to you. Well, it's always great when you hit those miles, stolen type of numbers, but it's really not about me and the 200 wins. It's about really all the people that go into, especially the university, Kevin Manning, when he first came here hiring me, giving me the opportunity and all the guys in the president's cabinet, to the admissions people, to all the players that have played with us. We've been very lucky to have some very, very talented guys that have played with us and it's great and it's really all about the people you work with and especially I just mentioned to the team, Tim Paul, she's been with me for 13 years and Tim's done such a great job the whole time. So it's a great thing to do, but we got more work to do, but it's always good to hit that and I think it's more important for the program type thing, how far we've come and at first got here, I thought my record would be 56 and 200, not 256. So it's nice to see what we have accomplished at Siebensted in just a short 13 years. It's truly a miracle where we came from, to where we are now. Coach, back to the game tonight, obviously it was a big win for you and other conference championship, it's five in a row, I believe. Talk about the seniors that stepped up tonight in tonight's game and what that means for you heading into the NCAAs. Well, you know, it's really great to see Ross down and play well.  You know, he's stepped up and done what he's case. He wants to practice the next day, he's given it all and he understands to be a senior, you know, Dylan Harris. And you know, he's not a senior. He played outstanding tonight, Drew Cromode, played outstanding Tyler Furman, the big goal at the end of the quarter, you know, making those plays.  So those seniors are really starting to kind of understand that, you know, this is any day can end and they want to keep practicing. I think that's the biggest thing we want to practice. You know, our guys want to come out every day and give the effort and the sweat and be together. They don't want to do that. The tough part about the NCAA tournament is that it can end any day and you really got to go and the team's going to be different from when that ends and you got to cherish every moment you have together. So those seniors understand that a little bit and think we're getting great play, especially out of, you know, Donna Frio, you know, I think he started out a little slow today and then he's like, I got to pick it up and I thought he was flat out, great drawn slides and moving it and playing just tough and he hit some big shots and probably could have had a few more he'll tell you but he still played great. Team was tested in the first quarter, obviously if you fell behind. All right, that's tested. Do you think that can benefit you that you were faced with a test like that and that they answered it the resounding way that they did? Well, we've done a good job all year and getting behind and coming back. I think we've done a really good job with that and I think the guys understand it's a long game and we got down and we made some dumb plays.  Their goal, we played the best game of his young career and he did a great job and made some big saves while we were putting pressure on him and, you know, anytime I play zone it takes a while to break it down a little bit and I think we did a good job with it but it was a good day and we're happy to win our fifth one and hopefully we'll have a few more here. Coach, with the tournament coming up soon, obviously selection Sunday tomorrow, what do you expect from seating wise from the tournament, from the committee and where you guys might be playing? You know what I mean to predict what the NCAA Committee is gonna do? I haven't predicted that in a while but, you know, it's gonna be interesting with some of the upsets that happened today, what's gonna happen, you know, especially with Coralyn losing and Bates losing and tomorrow in the Nescaq championship game, you know, Middlebury wins is really gonna put the committee in a situation to where these pool seas are gonna go and what's gonna happen so we're just excited to be in it. We could get a home game, you know, we've had a pretty good regional ranking and stuff or we could be on the road but for now we're just happy to be in it, we'll go anywhere, we'll tell us to play, we'll play and we'll look forward to it and but I think our guys are excited to be back in it and for the, I think this is our ninth straight year being an NCAA tournament so I think only eight other teams have been in the tournament for nine straight years like we have and that's just another kind of great thing we've been able to accomplish and not many teams win five conference championships in a row no matter what the conference is and that's still a great accomplishment for us. All right, before we let you go, I just found out last night that your brother is a ref. I had no idea. I didn't know that either. Yeah, and I've no help. I mean, we know your relationship with refs. That's great, that's tremendous. Tremendous relationship with refs, we get together. I did ask the referee in the end and he goes, why does he call so many things against us? It's because you sliced the golf ball so much and you didn't find it as funny as me but I thought it was pretty funny but no, Rob, my brother, Rob's, you know, he's, you know, we're kind of like, you ever see the movie Twins? Yeah.  In your heart, when you see him, do you just immediately go to yelling at him or no?  That's what he wants to stay involved in the game. You know, he went to Elmira College and he wanted to stay involved and he's been moving up all the time so he had the Clarkson RIT game the other day so he's moving up and hopefully he'll get some division one game soon. He does a great job. You know, I kind of kidded with Jay Kuna, Tex and Jake and go, hey, I don't think my brother helped you out and he didn't blow the whistle all game because that's the way I like it. I thought he did a great job. But you know, he does a great job. So Rob, keep it up and we're proud of you and just keep it up. We're proud of another conference championship here. Hopefully at home on Wednesday night, wherever it is, we'll see you there, all right? Thanks a lot, guys. Congratulations, Coach. Coach Paul, can't the better.