Save 10% with my code Bobby10 on raw, organic, grass-fed and grass-finished, freeze-dried organ meats from grassland nutrition. Link in the description box. All right guys, welcome back to the channel if you're new, Manus Bobby. Guys, today we're going to react to Just Come Back To Allah by Hamza Yusuf on the channel Blue Peace. This is a video recommendation coming from a viewer of mine during my last live stream. Guys, I'm streaming every single Sunday. Now I'm going to try to stream even twice God willing. I don't know what this video is about, but I can already imagine that it is a call to Islam and that it is a call to God, of course. So with no further ado, let's have a look. Religion is here to unite us. It's not here to divide us. And if it's dividing us, and if it's dividing us, it's not God's religion. It's something else. And so I would agree with this statement. Truth should unite us. Religion in general, if we're speaking about different religions, cannot unite us. I'm against the ecumenical movement. I'm against interfaith movements. I don't see any value in it when people pretend that all religions are right and therefore we can unite. Of course, we can be good neighbors. Of course, we can be friendly to people. We can be loving people. But we cannot just accept that every religion is true. Either one religion is right, or all the religions are wrong and have maybe partial truths within them. There is no other option. So if a Muslim claims that Islam is right, Christianity cannot be correct. Judaism cannot be correct. And vice versa. And this is why, again, I'm against the interfaith movement. I'm against uniting religious people under falsehood. We can only unite under truth. Other than that, we can stay allies. And so it's a great blessing to be in a place just where you feel comfortable. And you don't have to worry about somebody telling you you're not doing this right.  And so this type of religion. Here, I agree, of course, I think we should correct each other. So we stay firm on the straight path. But of course, that should come from love. It could come as a brotherly advice, if you will, but you should definitely stand corrected if you're straying off the core doctrine. We have to fight it, really, because it's killing the soul of the Muslims. And it's all over the place now. You know, these memes to use Dawkins, I don't really like to use Dawkins terms, but, you know, he came up with the idea of memes that are like viruses, intellectual viruses. And we've got these intellectual viruses that are making our community sick.  We have to clean our, you know, really purify ourselves. We didn't reveal this Quran for you to be miserable. I mean, Allah said that to His prophet. We did not reveal this Quran for you to be miserable. The understanding, the reverse understanding is, We revealed this book to make you happy. So if Islam is not making you happy, something's wrong with your Islam.  And this is, we're in the end game people. I mean, if you don't see that, I don't know what plan. Yeah, I don't know if I fully agree with this message, because it can be applied in all kinds of ways. Yet again, if you are supremely zealous, and you believe that only your way is right, and therefore you come with arrogance and you're boastful, of course, I would agree with this message. But yet again, if there is a religion, then there must be a standard to that religion. And then within that religion, there must be a right and wrong, and not a whatever works for you, bro. And this is why if people really stray off the path, they should be corrected. One channel that I've been watching lately is the Muslim skeptic, and I absolutely appreciate what he does with his work on dismantling Islamic liberalism, because me, looking from the outside into the religion of Islam, what I appreciate is that it's absolutely opposite of liberalism, that it's against it, that it is conservative, in a sense, for the lack of better words, and therefore to correct those people that want to reform a religion is only right. We're living on. Of course. We're coming down to end game. Maybe it's a hundred years from now. Maybe it's 200. I don't know. Those things are in the knowledge of God. But our prophet said, I was sent and in the end of time are like these two, and he put his waslan and sababa together, just like that. I was sent and the hour is like this. That was 1400 years ago. And in terms of how long humans have been here, it's not a long time, 1400 years. It's a, it's just a flash. So this is a time for people to have a lot of Rahab, you know, just expansiveness in their hearts for people. Baza, Baza. I wish I could quote it in Persian, but you know, we're in the city of Maulana, Jalaluddin, and he has a beautiful Qasidah, which is in the entrance to his maqam. Come, come again. Come. You know, whatever you've done, this isn't a caravan of despair.  The door's open and anybody that closes it as a ship on, you know, there's people closing that door on people that need to hear that message.  No matter what's happened to you, Allah's door is open. I mean, we have testimony in the hadith to a mass murderer who was given toba. He killed a hundred people, and he was given toba. He said, the end of time won't come until the Muslims are like a big rock in a river. They don't drink from it, and they don't let other people drink from it. And he said, and the one seeing it is not like the one telling it. So don't be like that rock that doesn't let the river flow and let people drink from it. This people need, they're dying of thirst out there. They're dying of spiritual thirst. This door is open and people, we need to open it up and let people come in with all their faults and all their flaws and all their dysfunctionalities and all their problems. Just open the door and let people come in. All right, that's it for today's video. I have to say that I'm not very impressed with this message. I do understand that God's door is always open for us. If we want to repent, we can storm to God and he will be gladly there waiting for us. Of course, absolutely no doubt in my mind. But when we're speaking about opening the doors to everybody, just come in. Hey, it shouldn't be closed for you, just come in. It depends. Are you coming in with repentance into the religion? And are you coming into the religion with the willingness to learn? If not, why would you enter that religion? It doesn't make any sense whatsoever. It reminds me of the Catholics opening up their doors to the f***ing LGBTQ community, hanging those flags and twisting their own doctrine in order to appeal to the masses. That makes absolutely no sense whatsoever and it will downplay the true core message of their religion. And the same applies, of course, to Islam. Let me give you another example. Karate. Back in the day used to be a legit martial art. Believe it or not, there were even tournaments where Muay Thai fighters fought against Karatekas and it was an even match. Back in the day, it was a real martial art. But then when the boom happened in America, school after school started opening up after they saw those karate movies. And so now those schools started competing with each other and what did they start to do? They started giving out belts for no achievement whatsoever. After two years a child could be a karate black belt.  If you look into Jiu Jitsu nowadays, thank God we still don't have that. A blue belt means something. A purple belt means something. A brown belt means something.   That makes sense. So hey, what is it today? Ghee class. We're putting on a ghee. Today is no ghee class. We're putting on a rash guard. All of that makes sense. So now if I want to wear a unicorn horn and a pink leggings, then I'm not allowed to enter. Very, very simple. That door stays closed for me because I am not willing to adapt Jiu Jitsu onto my life. I'm not willing to submit myself to the rule set of Jiu Jitsu and the same goes for religion. I come from Orthodox Christianity. I do understand what the law set within Orthodox Christianity is and now I do see, okay, I do not agree with those law sets. So I either have to change if I want to stay within that religion or I will have to look for another religion. It is that simple and this is why yet again for the thousandth time I am taking my time with Islam. I'm truly trying to understand Islam with all its facets. Will I be able to submit myself to this religion? If not, then that religion is not for me. Very, very simple.  That is so ridiculous, so hypocritical, so arrogant and this is what we see with so many people nowadays. The Quran speaks of them and calls them the reformers and I would never want to be one of those and I would never want people like that to storm into Islam because Islam is a strong religion and I personally, even not being a Muslim, would like it to stay that way. All right, guys, and this is it for today's video. If you liked it, leave it a thumbs up. If you haven't subscribed already, guys, please do so and if you want to support this channel, all the links are in the description box below. Thank you so much for your ongoing support. As always, may God bless you all, much love and peace.


This is Dr. Cray and today we are going to focus on the second part of our diabetes Melitis discussion. We'll be discussing the management of diabetic ketoacidosis So let's get started Okay, so this is the management of diabetic ketoacidosis diabetic ketoacidosis or DKA we said is Is an acute complication of diabetes? Melitis it most commonly occurs in type 1 Diabetics, but there is a subpopulation of type 2 Diabetics that we call ketosis prone type 2 diabetes That DKA can also occur in This subpopulation of type 2 diabetics are usually black men with obesity and Nuonset diabetes DKA is in fact a medical emergency So that means the first priority is going to be your ABCs the person Presents to the emergency room and you will start out your management with an initial Evaluation or work up that includes a thorough, but rapid history and physical examination Your labs are going to include Your ABG a CBC with a differential your urinalysis Glucose be you in creatinine and lights or a chem seven 12 lead EKG chest x-ray culture and sensitivities as needed and In doing this initial Evaluation you're doing a couple of things You will be able to make the diagnosis of DKA as well as Assess the precipitating cause so Typically or the classic presentation Will be a child or an adolescent or as we mentioned That's a population of type 2 diabetics that will present with several days of Polyuria Edypcia abdominal pain nausea and vomiting on their physical examination They will be hypotensive tachycardic cool small respirations and They may have if the precipitating factor happens to be infection of fever but There are specific diagnostic criteria for you to make or confirm the diagnosis of DKA so the confirmation of DKA is A laboratory confirmation those criteria include a blood glucose of greater than 250 milligrams per deciliter ABG with a pH of less than seven point three Bicarp of less than 15 ketone emia and ketone urea that will prompt you to start IV Normal saline at one liter per hour So we can summarize the diagnosis of DKA as hyperglycemia ketone emia and Acidemia and as I said your Initial evaluation in terms of your history physical examination is going to give you some indications of the precipitating causes that we call the five eyes Infection so you'll see things like a fever and A leukocytosis with a shift to the left in a young individual for example ischemia Whether or not it's myocardial infarction cerebral act vascular accident or stroke 12-litre KG will give you indications of the MI it may be Iatrogenic is this an individual that was on corticosteroids thiazide diuretics can also do it do they have a pneumonia so there you will have your Chess x-ray is useful in that respect and we said you do culture and sensitivity as needed is It's an inter-abdominal process is it pancreatitis is it coley? cystitis it may be a young individual that has type 1 diabetes and their first presentation will be Dka so in that respects insulin deficiency is this an established diabetic that Has stopped for whatever reason taking their insulin so the precipitating cause is Some type of stress in the body Thank you very much for watching the video and if you would like to take advantage of our usmle courses Please use the promo code below


Hello everyone, I am Sanjay Gupta, I welcome you on Sanjay Gupta Tech School. In this video, I am going to demonstrate you how we can apply custom labels in Apex Trigger and Test Class. So in my previous demonstration, I demoed you how we can prevent deletion of a count record if active field is equals to yes. So I will be taking help of that example and will show you how we can apply custom labels in Apex Trigger and Test Class. So here you can see, this is our trigger handler where we implemented this prevent delete method. And here I am just checking if active is yes, so I am just having this message, right? And it will be shown if we are trying to delete any account record where active is equals to yes. So this is now, right now, a hard coded text, right? So if we want to change it, so we need to change it manually in this trigger handler class. And if I show you the Test Class, so in Test Class also I just use the same message here, right? So if I want to change it, so I need to change it in both the places. So it is very tricky. So in, as part of best practice, whenever you have any text message, that can be changed in future and is used in different, different classes. So what you can do, instead of writing it manually here in each class, you can just create a custom label for it. And that custom label you can use anywhere you want. So what will be the benefit of using custom label, whenever you want to change something, text message. So you don't need to change that message in individual Apex classes. Instead you will be modifying that message in the custom label. And wherever that custom label is used, it will be applied there automatically. So what we need to do in, under Home, you just need to search for custom labels. And here you will be creating a new label. So new custom label. And here we need to provide short description, the name and then value, okay? So prevent account deletion. And here I'm just copying it and pasting it as a value and I'm saving it. So now I just need to use this API name, prevent account deletion in the code. So how I can use it. So I'm just erasing it. And here I'm writing label dot prevent account deletion. So I just saved this code and the same code I'm copying and pasting in the test class. Okay. So this way same label is used here. Now anytime if you want to change the value of the label, so you can just search for that particular label and you can just click on edit and here you can change the value. So whatever value is available here, it will be applied at both the places in the trigger handler class here as well as in the test class, right? Now if you want to deploy this trigger, trigger handler and test class from like one environment to another environment. So along with these classes, you need to deploy this label as well, okay? So now if I want to show you this from UI. So I'm going to delete this record and you can see it is working fine. Now if I want to show some different values, so how I can do that. So I'm just modifying this value and I'm clicking on save. So this custom label value is modified now. So again I'm going to delete the same record and you will see that updated message. So I'm going to delete this record and here you can see the message is updated automatically. So we are using this custom label in this account trigger handler and it is being updated automatically. So from UI you can just control the custom labels and in the code you can use those custom labels instead of typing any hard coded text value, right? And here in the test class also we have used it. So if I run this test class, so it will be passing as well. So I'm just clicking on run test. So you can see it is passed, right? So there is no exception or no errors available. And if I go here and click, so you can see all the lines of this method is covered. So this way if you want to use some text in your code multiple times in different different classes, so instead of typing that code, that text manually, you can just create a custom label and that custom label you can use in any class. So benefit will be whenever you want to change the text, so you just need to change the text of or value of custom label in respective class it will be changed automatically. Don't forget to deploy that custom label along with the classes from one environment to another environment. So this way I hope you understood how we can apply custom labels in a big trigger and loss and test classes. Thank you.


Garrett, this was your final start before opening day. How satisfied are you with the results? Yeah, I mean, pleased. Got through six, got the pitch count right where we needed to be, and so physically ready to go for opening day. Looked like early in the game you were working on your change-up. Was that a game plan of heading into it and wanting to get a better feel for that pitch? Just haven't grown a ton of strikes with it this spring. So yeah, just fine-tuning. Only eight pitchers through 200 innings are more last year. You were one of them. How proud are you of being that durable guy who can take the ball every fifth day? I mean, it takes a lot hard work from really not just me, but everyone else too. We've got to make sure we're pitching efficiently enough to get deep in the game. The training room's got to keep me ready to take the ball every five days, and same with the strength and conditioning coaches. So there's a lot of people that should be proud of it. We always hear pitchers, when they're feeling good, say, I really like the way the ball is coming out of my hand. How do you feel about the way the ball is coming out of your hand? Yeah, today was really good. I mean, I didn't step on anything, so just kind of cruising and having good life to the ball is a good sign. When you signed with the Yankees, you talked about not only winning a championship. You said multiple championships. How equipped do you think this team is to get to that mountaintop? Well, we can't win them both in one year. But yeah, I mean, that's part of the reason why I chose the Yankees and I came to the Yankees is because of the track record of putting together a team as an opportunity to compete in a postseason and win a World Series every year. It's unlike any other franchise, and pretty much unlike any other franchise in the world for that matter, so we take a lot of pride in that. And we're looking forward to push that first World Series since 2009 over the line this year. In a matter of days, you get the ball at Yankee Stadium to pitch on opening day. Can you even describe what that feeling is like? Yeah, it's a balance of emotions. You want to enjoy the pageantry, and it's usually very special for players who have not had an opening day. It seems like everybody, I believe there's a book called Time Starts on opening day. I think it's Thomas Boswell. I've read most of it. And it's just like, yeah, it's the beginning of every baseball fan and every baseball player's calendar is opening day. Speaking of special, before I let you go, so it's your final spring training start. As you walk off the mound, you make a little detour off to the stands there. And Amy, your wife and your two sons are there to watch dad pitch today. How cool of a moment was that for you? That is, honestly, that's probably one of the coolest moments of my career. I mean, to be able to, I didn't know he was there, and then he caught my attention. And yeah, like never before have I had to flip that switch and just kind of go into dad mode right away, like after trying to get after the ball for a couple hours. So that was really, yeah, that was really special. I look forward to more of those moments.


Hi, y'all. My name is Summer. I am the CRE of Humphreys Hall. Basically what that means is that I supervise the RA's, I advise the lead hogs, and help make sure that the building is run and smooth. So CRE's are kind of like hall directors, right? Yes. Nice to see you. So right now we're on one of the Humphreys patios. It touches the parking lot, basically where you'll park to move in and hang out for the year. And this is a really cool place to kind of hang out and socialize and everything like that. There's another big building right there. Do you mind telling me? Yes. So that is Yocum. They are our neighbor building. A lot of people call them sister buildings, but we're a little bit more different than that. So they're kind of more like cousin buildings. Okay, great, great. So let's see. And then this is the parking lot that you'll be using for move in. And we're going to have a good move in. We will, we will. It hopefully won't be too too hot for a move in. That would be great. That would be great. So we've got about eight people watching right now. Just let us know where you're watching from. We'd love to learn that and we're excited that you're coming this fall. I'm into the building. Do you mind telling me about that key system you used? Yes. And all of our residence halls are fog access. And basically when you get your key for move in, you'll also get a fob. And your fob will be specific to the building that you're moving in. So you will only be able to access the building that you live in. Okay, okay. Hey Joseph, good to have you here. And then Sherry from Springfield, Missouri. Glad to have you watching. We just went through the building and back out the building again. So this is our other patio for Humphreys. We have the beautiful Humphreys lawn in front of us. People play volleyball or other kind of games out there. This is also a great place to people watch. And then on the opposite corner is probably the most perfect place to watch sunsets on campus. Where is it? Right in that corner. It's probably the most perfect place to watch sunsets. Nice, nice. Yeah. Morgan from St. Louis and Sheila from Western Springs, Illinois. Apparently that is just outside of Chicago. She informs us. And then Brandy from Alito. Do you mind waving to Brandy? Nice. Okay. So anything else you'd point out around this outside? Yeah. We are also right across from Brough, which is one of our dining halls. And then kind of on the other side of Brough is a lot more of the food court. So like Starbucks and I think they're going to have maybe Eureka pizza this year. So literally right across the way you can grab bites to eat. And then we're also close to a couple of academic buildings like Kimple and the business building. So you're literally five minutes from class. Yeah. Very much the central part of campus. Located close to just about everything really. Yes. Pretty much everything. Any questions? Yeah. Any questions that people have? Just go ahead and ask us and we'll do our best. Summer and I to answer the questions for you. But otherwise we'll go inside and start touring the inside of the building. Awesome. Sounds great. The building was, we were just discussing the history of the building. Yes. The Humphries was built in 1961, I believe. And this year we are this upcoming year in 2021 we will be celebrating our 60th anniversary. 60th anniversary. Okay. Thank you Nancy for that note. We'll try to speak up a little bit. So basically when you walk into Humphries one of the first things that you see is the front office. This is where you'll get your mail and packages and everything like that. So basically we have somebody staffed here during the day as well as some hours at night.  Right. And right there I see a huge plastic divider COVID related I'm sure. Yes. Yes. So we are trying to take as many safety precautions as possible. So the plastic dividers between the office guests and the people working the front desk is there just for safety measures. Perfect. Trying to keep it safe. Down this hallway is where you'll find your mailbox. So you do share your mailbox with your roommate. But basically you have these really kind of old school mailboxes. And that's where your mail will be dropped off any letter mail. And where will you get packages? Packages are at the front desk. Very good. Very good. Awesome. Now we can go to one of our big community spaces in the building. Okay. And I mean, do you happen to know how many students usually reside here? Yeah, we have anywhere from about 450 to like 350 to 450 is typically our range of students. Just depending on how many sign up for Humphreys. Sure. That's a pretty big number 450 or so. So this is the great room. This is basically one of our large, large common spaces and community rooms. We have it set up a little bit differently this year than in years past. But one of the cool things that the setup is now for the TV, we basically have theater seating. Oh, right. Like we're going to walk over to the TV right now. I mean, there's a lot of good shows you could watch a big TV like that. Absolutely. And you basically have your own movie theater in the building now. Very nice. Anything you're binging at the moment? What am I binging at the moment? I'm all about normal people on HBO. No, no, no. On Hulu is what I've been watching. I can't stop watching Hamilton over and over again on Disney Plus. Hamilton over and over on Disney Plus. Yes. On the other side of our great room, we have a ping-pong table and a pool table. Right now and kind of for the start of the semester, we're not renting out any equipment. But if you want to use these tables, you're more than free to. We just ask that you bring your own ping-pong paddles or whatever other equipment you need. Great. Do you play ping-pong? I am not skilled at it, but I will play with anyone who wants to play. You'll jump in for a round or two. Okay. Outside of the great room, we're going to run into the Humphreys kitchen. This is free for all students to use. In Humphreys, we typically have a good bit of international students, so we end up with some very interesting spices left in our kitchen at the end of every year. And again, with the kitchen, just like the other equipment in the great room, we're not providing any pots and pans right now, at least for the beginning of the semester. But the kitchen is yours to use if you want to bring your own pots and pans, cookie trays, et cetera. And you might smell some good things, apparently. Great. Awesome. I think from here, we can go ahead and head downstairs. How many floors do we have in Humphreys? So we have technically 10 floors. One of the floors is the basement, and only floors 2 through 9 have residents on them. 2 through 9, okay. First up in the basement is the laundry room. Obviously, this is where you'll get your laundry done. So we have a bunch of washers and dryers for you to use, and an ice machine in case you need ice for any reason. Every building, the laundry machines are free to use. They come out of your housing freeze, so you don't need to keep quarters or anything like that. And additionally, there's this cool laundry app that basically lets you monitor which washers and dryers are open, as well as track your laundry. So you'll know when it's done, go downstairs to pick up your laundry when it's finished. It's a pretty convenient app. Every year we do these tours, and usually at least one student will say, yeah, I really do use it. It's pretty useful to know when to come down and when to time it. So you can go to housing.uark.edu forward slash laundry, and you can read more about that. Yep. The comment space is down here in the basement. Okay. And you call it the basement because it doesn't seem like a basement. It seems like a kind of a cool floor. Features that will pass on our way, but we just refer to it either as the ground floor or the basement. The basement. All right. In the basement, we're going to run into Matt. He is the CRE of Yocum, so he's helped me out with this tour today. Okay, I'm just shadowing something I'm learning. Welcome, welcome. Thank you, thank you. Glad to be here. So basically in the basement, we have our recycling, so you can recycle anything from plastics, newspapers, paper, cardboard, everything like that. And then on the other wall, we have these cool old closets. And basically these used to be built in phone booths for the residence hall. Phone booths? What do you mean like cell phone booths? Like old school landline phones. The landline. Yes. Very, very interesting. Yes. In the basement is our classroom. This is where we have meetings or programs. This is where our lead hogs meet on Monday nights. And this space is reservable if you want to rent it out. And we can show you where that form is. It's on the Humphreys Hogsink. So make sure you join Hogsink, because that's where all the events will be as well. Well, tell me what Hogsink is. It's basically this awesome portal that'll connect you not only to your building, your residence hall, but all the other organizations on campus and everything like that. It's a good place to know what's going on on campus as well as kind of what news is out there and everything like that related to campus. Perfect. Hogsink. Hogsink.uark.edu, I believe. Yes. That's H-O-G-S-Y-N-C. Yes. Okay. Great. Awesome. I think that's it for the basement so we can go ahead and head upstairs. Let's go upstairs and see a floor. Yes. Now, how long have you been the CRE for this particular hall? For two years. So this is going to be my second year in Humphreys, but my third year on campus. So I was in Pomp for it for my first year here. Okay. So you've been around a little bit, seen a couple of different halls. What do you think makes Humphreys kind of a unique hall? I think what makes Humphreys a unique hall is that we have so many different types of students here. We have international students. We have upperclassmen. We have freshmen. We have half of the business LLC. So it's just a cool hodgepodge of students that really get to connect with other students who are different from them. Fantastic. Yeah.  Yes. Which means they share a bathroom, some smaller groups do, and then there's just a lot of interaction. Yes. There's a lot of interaction. We're also so central on campus that, you know, it's so easy to get to everything and really connect with campus in that way as well. Perfect. Well, yeah, it's a neat place to be. Particularly your first year, I would think. Yes. When you're starting to make friends and all that sort of thing. Yes. It's a very unique experience to be in a community-style building, but we love it, and my staff here loves it as well. All right. Stepping off onto the floor here on floor nine. On the ninth floor, the very top floor of Humphreys. The first thing we're going to check out is the study room. So every single floor has a study room exactly like this. It's a place to hang out, study, watch TV, do homework, hopefully. Everything like that. Got a whiteboard over there. Whiteboard, beautiful view. Hopefully it's not too distracting to your study. That is really a nice view. Can we see the stadium from there? Yeah, stadium's right in that corner, right there. Can we take a look? Can you pull up the drape force? We'll take a look up there. Woo pig suey, right? It's not a big deal if you can't get it or whatever. Yeah. We can actually see it right through there. Awesome. It's a stadium that's literally across the way. That is very, very close to Razorback Stadium. Yes. Okay. Well, cool. This is a study room, and then in years past when we've had so many students, we were like trying to put them in places. I've used this as a room for actual students, and they love it. I mean, usually they do. Yes. In the past, it's been an overflow room. We basically block out all these windows. That way it creates privacy, and we arrange some furniture in here and make it work. But the past few years, we haven't had to use any of our over exposed spaces. So you've got it as a study room now. Yes. Okay. Well, let's go take a look at maybe the bathroom and then maybe a room. And when we're in a room, feel free to ask us if you have any measurement you want us to take. Summer has a tape measure. Matt has my tape measure. Matt has the tape measure that he's getting, but we have tape. We're tape measuring capable. I'm mentioning that every floor has four bathrooms. So typically you would share a bathroom with about 15 to 20 people. Okay. 15 to 20 people in the bathrooms. Some questions that have come up on some of our other tours are what are we doing in terms of preparing for COVID this fall? And I'll say that one thing we're doing is we're cleaning the bathrooms twice a day now instead of just once. And we're also extending that cleaning into the weekend when typically we wouldn't be cleaning on the weekend. So we're doing significant amount more cleaning in our bathrooms. Yes. ISA staff or our staff that's cleaning these spaces, they're also cleaning a lot of the high touch spaces. So a lot of the doors and the common use spaces. So that way all those spaces that a lot of people touch get some extra cleaning as well. Just trying to keep it safe as possible. Brandy asks us, is the building co-ed by floor? So every floor is designated by gender, but we do have both males and females in the building. What's interesting is Humphreys often has more males than female students. So I think our ratio is about 60% male to 40% female. My mask, correct? Interesting. Yeah. Because that's not, I guess typically when it comes to enrollment at a university, it's not so much 60% male, 40% female. So kind of unique thing here. Yes. So we'll check out the bathroom and then we'll talk a little bit more about the floors and everything like. Sounds good. Why don't we jump up in that, like look in the shower and then the sink. It's a pretty typical shower in so many ways. But big. Like it's actually quite sizable. And they welcome shower curtains. I believe they took them down to clean them. So there's typically a shower curtain in front of each of the shower spells. Yeah. You'll have the privacy, no worries. Okay. Let me get a view of the sinks. Then you have commodes over here, but everybody's saying commodes. So I think that exciting there. Okay. Where are we going into? So the majority of our floors are double floors, which basically means that every room has two students living in it. However, we have two floors and Humphreys that are single floors, which means that there's only one student per room. You'd still keep all your furniture. So you'd still have twice the amount of furniture, but you can organize it however you want. We just want to make sure that all of the housing furniture is there when you move out. Absolutely. Yes. And the furniture here is built into the, built into the facility itself. So cabinets, shelving, closets, everything like that is built in. I'll give them a big pan right now. There in the window. With all the sunlight. Okay, great. So yeah, here we are in the room. One thing to point out is that you get free, or cable that is paid for with your housing fees. That includes HBO. So you can watch all the HBO shows as well. The internet is pretty strong in this building. And so maybe we'll get some pictures of the built-in closet. I know that's oftentimes an area of interest for people. Have you been getting any questions from people? A couple questions. Just about kind of the room layout and everything like that. A few measurement questions. But nothing too super, super specific. So this is a typical room. Pretty much every single one of our rooms look like this. The windows, the blinds go up, the windows open. Typically all of our windows have screens on them. They ask that you don't go out on the window ledges. It's super tall and super high, and it's super unsafe. So at least stay inside your room. Good advice all the time. We do have a question from Shamus who asks, can you measure the window width and length? Yeah. And maybe that's a two-person job I'm thinking. The window width and length. So I think we're talking about, yeah, those two dimensions, the X and the Y, if you will. What's that? Oh, it's on there too? OK. We'll confirm with that. It's over 10 feet in this thing. That's about 10 feet. OK. Can you take a measurement and then add that to it? Take two measurements and put them together? So at least 10 feet. 10 feet, 6 inches. How does that measure against the? 10 feet, 6 inches. That's what the website says. We love it when that happens. OK. Some more questions here. One from Gail. Can, well, we gave Shamus the length. Do we give him the? I guess height is kind of what we're talking about. Yeah. Let's do that one too. Because he wants to put a curtain in potentially. And I would say a tension rod, if you can find one that big, 58 inches in that dimension. Yeah. If you can find a tension rod that big, it would work fine. Those are awfully big. But OK. And Gail asks, can curtains be hung on the window? And again, tension rods are our typical go-to when it comes to that. We just ask that you don't put anything in between the window blinds and the actual window. So you can have curtains or decor or anything like that on the inside of your room. We just want to make sure that everything's up to fire code. Sherry asks, is the black metal rail at the top of the bed frame removable? It is. It's basically just a stabilizer bar. So with these tall bed frames, we typically put in a stabilizer bar, but we do have some bed frames that are shorter. And those don't necessarily need the stabilizer bar. So removable stabilizer, stabilizing bar. OK. Well, this is the perfect time to ask any more questions. We're happy to answer them. We'll do a quick mattress length measurement that tends to be one that's very popular. 78 inches. So this should be the long one. Yes. So the long mattress is typically by the window. OK. So this is one of the residence halls where there's two different sizes. So 75 right there. Yeah. OK. So 75 in that direction. OK. OK. Who gets the long bed and who gets the short bed? You can do it by height or by preference, whatever you want. But since you will be living with a roommate, if there are any issues you have any questions or need any resources, we do have students staff who live in the building called RAs. And they're basically here to help you with any questions you have. They are students on this campus as well, but they're pretty much here to help you and your experience in Humphreys. Nice. A couple more questions came in. Jennifer asked our both beds twin size, and we just confirmed no. One is, what is our designation? How do we call them? Twin RSL. Uh-huh. And then a twin large, maybe, or some, there's a 78 and a 75. 75 is right there, against the door. Angie asked how deep is the window ledge. So that was the one we didn't get. Yep. So am I getting the depth? 16. 16 inches is the depth, Angie. Gail asked how many outlets are in the room? A lot. A lot. A lot times there's like as many as 10, but I don't know exactly. Yeah, so we have two though. There's a good amount of outlets. So between 8 and 10, does that sound right? Jessica asked, are all the window beds XL twin? Yes, they should be. They should be? Yep. Let's just hang out for a second. See any more questions come in? Yeah. And we do have, like we did the measurements, we have really huge windows in Humphreys. I know a lot of our students bring a lot of plants in. I have a lot of plants in my windows, so you'll probably see them from the outside, but you also get such a great view living at Humphreys, especially on some of the top floors. What's the best thing to grow? It depends on what you want to grow. What's what plant of yours is doing the best? Yes, what plant of mine is doing the best? I actually am growing an avocado tree right now, and it is about almost 5 feet tall, so it's almost getting taller than me, but it's doing really, really great. That's amazing, an avocado tree. Christie asks, what are the depths of the two closet shelves, and what is the height between the bottom and the top shelf? Absolutely. You already measured it. What is that? This one is 16. 16? Yeah. And then the top one? 9. 9? And how much Friday did that one come out this time? You got masking? Yeah. You just measured this one. I want to make sure that I get those two. I'm sorry, the first one was what? 16. 16. Okay, the depth of the closet shelves is 16. And the top one is 20 and a half. The top one? 9 inches apart from each other. And 9 inches apart from each other, Christie. Brandy asks, can you hang stuff from the ceiling? You can. We ask that you don't puncture any holes in any of the ceilings, walls, etc. It would be really hard to puncture holes in the wall since they're made out of cinder block. And we ask that you don't cover any of the lights or the smoke detectors or anything like that. So technically you can if you want to put a poster or something on the ceiling, but you wouldn't be able to hang anything heavy or drill any holes anywhere. And if there is damage to the building unfortunately at the end of the year, we have to charge for that. So always be aware of, will this damage the property before I move out? Let's see, we've got a couple more questions coming in. Sherry asks, how deep are the shelves above the desks? Let's see. And inches exactly. Well, there we are. Again, the website has that information. That's great. Sheamus asks, how do you request your bed be raised bunked? And the way you do that is you go through our website, housing.ur.edu, fix it, F-I-X-I-T. And you can make that request. On the housing website request to have a, we have the option of putting a mini fridge microwave combo, which you can basically rent for the semester of the year. So I believe that's through the housing website as well. And if not there, it's on movein.ur.edu as well. And I also think it is on leadhogs.ur.edu. So a couple of different places where you can make that rental if you wish. Okay. Jennifer asks, what size rug fits best? And maybe what we do is we just give the dimensions. And then she can make that call. Remember, her only use the sheet. Yeah. Between the beds. And then, seven feet between the beds. Seven feet between the beds. And then 91 inches in that direction. Gail asks, what can be used to put things on the wall? Command strips, something else. We recommend command strips. Command eight is what we use to hang all our flyers. So if that is in your aesthetic, feel free to use that. Just be careful, just be careful taking everything off the wall when you're done. Typically command strips come with instructions on how to remove them. So I would follow those when you're ready to move that at the end of the year. John asked, where are the air conditioner vents? Yeah. So the air conditioner vent is basically on the wall near the window. So every room has one of these. Unfortunately, there is no AC control. Well, there is AC control in the room. So I almost made a mistake. So you can control the AC temperature in your room. It is right there. Wonderful. So yeah, right there is the AC control. Okay. Angie asks, when not lofted, does the fridge usually go at the door of the window bed? The extra furniture that you bring in pretty much however you want. So I've seen sometimes people put many fridges in their closets. I've seen them put them under their bed. I've seen them put them next to the bed. So it's really whatever you want and however you want to decorate your room. And then Jennifer asks, what size rug fits here? Do most people put their TVs? Where do people put their TVs typically in Humphrey's room? That people bring their own TVs. I've seen them on the dresser. I've seen them in the closet. It's really kind of whatever works for you. So for you and your roommate. So if you wanted to put a TV here and block the mirror, that might be something to discuss with your roommate beforehand. And Morgan asks, is there a mallet provided in the room to loft the bed yourself? And we do have a limited number of mallets, I believe, during our moving. But we really strongly encourage you to bring your own mallet if you want to use that to do lofting. Or you can use us. You just have to get that work order in. Yes, like you just said, we have a limited amount. You can rent them out during move-in, but a lot of people you typically want to use them during move-in. Same thing with dollies is we have a very limited amount of dollies. So we always recommend you bring your own for moving as well. Yeah, if you want those things, you're probably going to wait a little while. I know it's just one more wait to have to endure on a move-in day. So always best to bring your own things. Yeah. Okay. Well, we've got a lot of really great questions as we've toured Humphrey's and we're excited for next year. You know, if a couple more come in the next minute, we'll take them. But otherwise, tell us what do you think this fall is going to be like? Going to be very creative. I think with everything going on in the world, it's changed a lot of things. But I think that it's going to allow us to be super creative and get to know one another in different ways. So I'm still excited for fall and I think it's going to be a really fun semester. Me too. And we're excited to have you come here this fall and will you mind waving us out?


Lost Edges, what are they and why do they seem to be a secret for achieving painterly effects? So welcome to Monet Cafe. I'm artist Susan Jenkins and in this lesson you'll be learning just that and more. This is a full pastel painting tutorial, so I hope you learn lots and have lots of fun. Also, if you would go ahead and like this video, I'd really appreciate it. Subscribe to this channel if you haven't already and click that bell icon to be notified of future videos. If you're a patron of mine on my Patreon page, you will be getting extra content and if you would like to become a patron of mine, it's only five dollars a month. You help to support this channel, keep the free videos coming, plus you join my Patreon family. The reference image, oh my goodness, this is such a lovely image from Unsplash.com. It's a great site for copyright free reference images and I will have a clickable link in the description of this video to be able to access this reference image. If you're a patron of mine on my Patreon page, you will be getting some extra goodies, a traceable image that'll be great for beginners, also a downloadable copy of my color notes, which will be helpful. Now let's go ahead and talk about the products used in this lesson. I think it'll be helpful. I'll also have clickable links in the description of this video. The surface I'm using is called Sennelier La Carte Pastel Card. That's a long name, but it's one of my favorite surfaces and I love that it lends itself already to those lost edges, those painterly edges. And I'm going to be talking a lot about the surface as I paint. You can buy individual sheets of this surface, but I like to buy it in a pad. The surface color I'll be using is kind of like a grayish blue. I can't remember the exact name of it, but I already have my sketch in and here is a glimpse at the pastels I have pre-chosen. You can see I have a varied palette. The rectangular pastels are Terry Ludwig pastels, and I even have some Sennelier pastels in there as well, which is the same company that makes the surface. Now I've got a couple of blenders here, and the one that I actually used for this painting was the lighter colored one, and it is a blender made by Pan Pastels. They're called soft sponge bars or art sponges, and you can get mine was the round, but these little pointy ones work really great too. These smaller packs are quite affordable. You can actually wash them and reuse them, but they do make other styles, and they work great with the actual Pan Pastels themselves, but I find they also work great with regular pastels, and they work really good on this Sennelier paper. It's a very textured paper, so you'll see me using that blender later in the video just to soften some things. You'll see me using a mix of real-time and a little bit of speed video as well, because this painting, it took me, it was around three hours long. I find that when I do still life images, especially something with this complexity, I would say it looks simple like a coffee cup, but you've got to make sure you get that ellipse, that circular shape correct with the saucer. So those things are something that will make your painting look amateur very quickly if you don't get them right. I'm a little bit fastidious with those things. You know, a leaf or a cloud, it's okay if you get things a little bit, not where they are in the image, but with something like this, you definitely want to get things right. You will also get some really good close-up footage, especially when I do the strawberries. I'm going to talk a lot about lost edges when I paint those strawberries, and so I'm going to try to give you the best footage possible. But what I'm doing here is using a combination of some cool colors with different values. They're very neutral and they're very cool, and I'm just emulating the values that I see in that tablecloth, and I will gradually layer the values. Now I'm going to speed up a little section coming up here because, again, the painting was about three hours long, so I'm going to make it to where I have teaching points that I'm making in this. But what I wanted to share here, I think it helps to speed it up. You can see how the pastels start to blend themselves, and later I realized, you know what, I was getting a little bit too detailed for the early stages of the tablecloth. We often like to do what's called blocking in big shapes and values to begin with, and here's where you can see me using the Blender. This is the Pan Pastel Blender. Again, the one that I used has a more of a rounded edge instead of a pointy edge. They both, either one, would work fine. But I really just kind of wipe mine off on a paper towel when I change colors, and that seems to work great. And it's just kind of softening some of the pastels that I've already put down. And my strategy with the tablecloth is basically to get in the basic values and color temperatures. There are some cooler areas in the tablecloth where there are some shadows, and I'm keeping it very neutral in this area. One of the reasons for that is because it does look kind of neutral, and I don't want this background section, the part that's behind the coffee cup, to be much of a focal point. What would you say the focal point is in this composition? Well, the strawberries lead you in, definitely, but obvious, the coffee cup. So things in nature typically are more detailed in the foreground and gradually get less detailed in the background. But we can push those facts about nature as artists. We have artistic license, and I really wanted to keep the roses and the background very out of focus. And it kind of was in the photo anyway. They used that photography trick where you can change the aperture to make that fuzzy background. And it's really a neat effect, and it's very artistic as well. And now you'll see me grabbing a blue, and what I'm going to do with the blue is use it where there are a little bit more shadow. It's a little bit darker in values than some of those lighter tones I had put down. And if I squint my eyes, here's a great trick for if you are a beginner artist. If you want to see values and general color temperatures more clearly, squint your eyes. I mean really squint them a lot, and look at your reference image. And all of a sudden you will see, oh my goodness, underneath some of those roses, it's pretty cool. I'm almost seeing a little bit of blue. I get the question all the time is, how did you know to use that color when you didn't see it in the photo? Well, there are little subtleties that you can see. Like right now I'm using this purple. If you look behind that coffee cup where I just put that purple, I really see it. And you probably would in this photo too, if you could see it more clearly. You can pull it up on unsplash.com from the link in the description of this video. And you can see it here. I tried to keep the printout that I used beside me, but occasionally I might throw the image up here too, so you can see what I'm painting while I'm painting it. All right, now here I am going to speed up this background section. I'll still talk through with some commentary, but I'm still just working on the basic values. And I'm adding in a little bit of warmth. I noticed that some areas had a little bit of influence of the items that were around it.  And even though this tablecloth you would say, oh that's just a white, what would that be, a linen tablecloth? There are so many different subtleties of color in this. And also there's quite a bit of folding in the tablecloth. And you start to notice those little nuances of value changes and color temperature changes. When things are in a crevice or the light is behind a fold, you're going to get more shadows in the valley areas. And also too, a great thing to do at the beginning of a painting is to identify where your light source is. And I could identify the light source in this. Well you can see it on the strawberries. There is a highlight on the strawberries and also in the coffee, in the coffee cup, can you see where the light, well you could, where the light area was in that cup. So you can tell the light source is kind of coming almost, if you were looking at it, kind of from up and behind your head a little bit. And so that's really going to help you a lot with knowing where to add those shadows and those folds and areas in that tablecloth. Also too, you see here where the little teeny image is that I put up in the left corner. If you shrink your image down really small, create a little thumbnail, that also is a really neat way to quickly identify where your big shapes and values are. It sounds so silly to say, make your image smaller to see more clearly, but you really are, can more easily identify values in a thumbnail image. Just like I said before, squint so you can see more clearly. But by squinting, you're actually filtering out the light thus more easily able to identify values. Now I'm still playing around with this, adding some of those cooler tones that I'm just sensing would be cooler in those shadowy areas. And you can see too, I've added some of those greens around the roses, where the leaves will be. Notice I did not add, there are some warmer tones in those leaves, warmer colors in those leaves. But with pastel painting, with a lot of painting actually, acrylic and oil as well, we typically work dark to light. We lay down our darker values. And because the medium is opaque, we're able to lay light over dark. And so you see I got the strawberry little leaves on top as well. And you'll gradually see me layering lighter and warmer values on tops. Now I'm getting in some of the folds now in this tablecloth. Again, like I said, I almost over detailed work too much on that tablecloth in the background.  So I really could have been a little faster with this painting if I remembered that, which is what I start to do now with the tablecloth. You'll see as I work, I do more of that blocking in. So I am trying. Now let's talk a little bit about the point of this video, which is lost edges. And a lost edge is creating an edge where there's a division, there's a change of subject matter without using a line. I had a Patreon lesson one time that was on line versus edge. Lines are typically, think of that more like drawing. You have, and there's nothing wrong with lines. I mean, sometimes you'll use a line in a painting, but if you want that painterly look, we focus more on these edges. It means one value next to another value. It's more of a, think of a big block of light next to a big block of dark. You're going to have that illusion of a line. Basically, often I'll break my pastels like I did there. I just needed it to be a little smaller, but you're going to have that illusion of a separation and it feels like a line. You can see how it's happened here where some of the lighter areas are next to some of those darker areas that I've put down. You get that optical illusion of a line and it's really just two values juxtaposed to each other. So that is something you want to focus on if you want that painterly look. Avoid a lot of linear strokes and if you do have them, have them in strategic areas and have them very gestural, which you'll see me do later with some of the coffee cup highlights. I have a few little linear strokes on those. So really, this is still just the blocking in stage, but you see it starts to come together and you have to learn to be patient with these things because when I was first starting with soft pastel painting, I thought that it needed to look like that thing that I was painting right away. And it's going to look a little odd for a while, which is actually a good thing. Embrace that what many artists call the adolescent phase because if you go in and you start getting overly detailed on one thing particularly and then you move to the next thing, you are going to lose that harmony, that painterly feel, that feeling of impressionism rather than if you work the whole, the blocking in stage, getting these values in, like I was saying, the big basic shapes. And also another reason that it kind of looks a little odd for a while is especially if you're working on a really sanded surface like this, I'm going to talk a little bit more about the surface right now, the Sennelier Pastel Carte card. It's very textured and there are some artists who have said they have a little bit of a hard time working on it, maybe because it is very textured, but I find that it layers so beautifully. But because it's so textured, it takes a while for those layers to start to actually look like something. It's going to look a little broken or textural for a while until you get enough pastels down for them to start to actually blend themselves. But definitely resist that urge to get too detailed in any one area. Okay, so now you see I've gotten in some of the greens for the leaves and the roses, some of the greens that are in the strawberries. And now, again, like I said, a lot of times with pastels, we work dark to light. I got in a pretty rich burgundy. I'm just squinting my eyes and looking at where the darkest darks are for these strawberries. And it was definitely on those underneath sides. I've zoomed in here a bit more so you can watch me work. This is a Terry Ludwig. I think it's from the Terry Ludwig Darks set. They have a Terry Ludwig Darks 1 and 2. Terry Ludwig is a U.S. company. They are wonderful people. I just love their company and I love their pastels. And they perform beautifully on this Sennelier LaCarte pastel card. It's like they're so nice and soft and smooth that they just fill that tooth just very beautifully, smoothly. And they just feel like butter when you apply them. Again, I've used a combination of different pastels. And now you'll see me move on from the strawberries. Often what I do is if I have a pastel in my hand before grabbing another color to work on the strawberries, I'll see where I can use that color somewhere else in the painting.  You might as well use it. It also will cause your painting to become more harmonious. I will sometimes use a color even if I don't really see it in the reference image. If I can fudge a little bit and say, oh, there might be a little bit of that dark red or a pretty blue somewhere else. I might add a little pop of it in that place, as long as it's not too odd just to keep the painting feeling connected. Now this is another really pretty, almost like a cranberry reddish color. And again, working that dark to light strategy, it's a little bit lighter in value than the first one I put down. I think this is also a Terry Ludwig pastel. The other one had a little more brown in it. I think this one might have a little bit more magenta to it. But look at how my marks, they're just kind of scumbling. And this is also going to help with those lost edges. There's no lines here. These are just colors in blocked out fashion. And I think it's kind of fascinating. I actually love rewatching my videos and doing a voiceover like I'm doing now because I get to watch as an observer rather than just painting it. And I get to be mesmerized by the process of how it really does start to come together. Okay, you can see this is a, it's a warm red. But it's a lighter value. And why am I putting a lighter value here? Well, that is my source of light is in that general area. You're also going to see me later adding some of these colors to the areas where shadows are. Just a little bit of a hint of that red where the light, light bounces, light and color bounces off of each other. And when you can sort of just learn a little bit of the rules of how light behaves, it's just going to enhance your ability as an artist. And look at that gorgeous red. That's another Terry Ludwig. I used a lot of Terry Ludwigs in this painting. They're just so luscious. Again, they work great with the Sennelier paper. And what I'm doing, you can't see my face here, thank goodness, because I never fix up. And, but I'm squinting my eyes really hard. And I'm looking at the strawberry and I'm seeing not just the values, but I'm seeing the form of the strawberry. And sometimes I will, I use my fingers sometimes just to knock things off and blend. I don't like to over blend, but I will see the form and how the shape is of the strawberry and I'll make my strokes in a way to enhance that three-dimensional feel of the strawberry. Give that illusion of three dimensions, even though I'm working on a two-dimensional surface. So just scumbling in colors and values. And it's like I've said so many times now. I think I know I never heard anybody else say this. So I think it's my expression. Painting is easy once you know the rules. And I made it so hard when I first started painting because I didn't know any rules. I was using my own rules. So when I started finally learning some things, I love to share the story. That's how Monet Café started. I started making a little video and telling people, hey, this is how I used to do it. Now this is how I do it. And so that was kind of the birth of Monet Café. But you can see now, just by a few values and colors, it's starting to take form. That strawberry is gradually starting to feel like it's sticking out from the paper. And this also is still using the strategy of edge versus line. I'm just putting in little marks. I'm not making any lines. And they really will help your painting feel impressionistic and have that painterly style that I know so many strive for. Those are some of the comments that I get most often on my channel is I really want a more painterly style. And you may find it hard to believe I keep leaning more and more painterly. I actually am doing things that are a bit more abstract and I'm loving it. But when I first started, I was really detailed and very realistic. Now I do admire photo realism, people who can do that. But everybody's got their own thing. And I just love that painterly look. I think it's just beautiful. It's romantic looking to me and and passionate looking.  We're artists. We can make the world through our eyes and create something that isn't exactly like what you see in the photo or the image. So it's a lot of fun. Now I found when I was adding some of these colors, I found that there were, I didn't purposely plan some of these spaces. You know where the little strawberry seeds are? But the paper, because it's so textured, I started to see where there were some little parts of the paper peeking through. And I decided to kind of let it be my guide. You'll see me kind of develop that as I go. Look at that. It's already starting to look like a strawberry. So as I move and progress through the painting, you'll see me get to the phase of where I'm adding those final little glistening highlights. A little bit darker areas where some of the seeds are. But you will notice later as I'm painting the strawberries that I resist the urge to really even measure and get all those strawberry seeds exactly where they need to go. You want to get it botanically, suggestively accurate, but you don't have to put every seed in there. Put a few and, because if you do put every seed in there, all of a sudden you have taken that viewer and gotten them to focus on the strawberries and it will become a barrier to going into the painting. So suggest a few that you think would be just the most appropriate to suggest. Sometimes it's just a gut feeling. And then move on. As I've done here. And now I, a couple of things I need to continue to block in are the coffee cup and the roses in the background. And then I'll gradually start working the whole. But I am going to have to speed up a few things here or this video. I'm 22 minutes into it right now. So I'm going to speed up a few things. I'll talk through it and probably add some music. But I'm going to focus a lot on the roses and the strawberries as those progress. Because I think those are some great teaching opportunities for lost edges. Often I like to establish my darkest dark and lightest light. And then the coffee cup situation here. I know my darkest dark is that interior part of the cup where there is actual coffee. And again, the top part it looks almost like an upside down crescent moon is going to be where I see the highlight. But I got in some of the light elements on the the handle of the coffee cup. And a little bit on some of the rim. And you'll see me develop some of these shadows that are not only on the cup but also on the saucer. Now they may look a little bit dark at first. But I know that as I gradually start adding other colors and values that things will lighten up. Now I am going to be speeding things up a bit. This lesson on lost edges is best taught I think by the strawberries and the roses. I will have hopefully a future video on things like ellipses and more detail drawing on still life objects. But I got it. I got to just be honest with you guys. This is editing post Hurricane Ian. And if you've followed my channel for a while you know that my husband and I went through Hurricane Irma in 2017 with some really devastating losses. We lost our home due to a flood. We ended up end up renovating it and selling it. But it was we were living out of a travel trailer for a while with my two college age boys. And so but you know what? Everything is ends up Romans 828. God works all things for good. Some people end it right there. But there's more to them who are the called according to his purpose. Okay. It's not always our purpose. What we think is great for our lives because God really did take that storm and create a rainbow out of it. And so you know we just went through Hurricane Ian. We did not have the devastating loss that we had before. But we have a we have some damage and we have family members, friends, neighbors that were helping. And so that's why Monet Cafe had a little pause in some content. But so I'm a little bit tired right now. So I'm speeding this section up. But at about I think it's about 26 minutes into this.  And I'm going to talk to you a little bit more about some of the colors and values that I'm using inside the coffee cup to give that illusion of three dimension and reflection. And then I'm also going to have slower content during the final creation of the strawberries and a little bit more with those roses. Again, this video, I mean this painting was about three hours long, longer than my normal painting. So and that was recorded prior to Hurricane Ian. And so I was just left with the footage when we had to prep and try to save a lot of things before the storm. So as I typically do, I'm just blabbing on. I really feel like I'm like in y'all's living room or little cubby where you have your art studio. And I just feel a sense of intimacy often when I talk during a voiceover. And so I guess I'm just going to keep talking during this sped up section. And yet at that point I needed some coffee myself. So I added a little bit of warmth now. Notice everything felt very cool. And I know that there was some light shining on this coffee cup. And the light was catching inside that inner part that I'm working on right there. It was catching on a little bit of the saucer. My saucer is a little wonky right now. I have to kind of reshape that. But fortunately pastel surfaces like the Sennelier pastel, the card, you have quite a decent amount of layering you can do. So not that you want to be haphazard with correcting things but you do have some leeway there. All right now see that dark dark I added. Okay contrast creates focal interest. And that dark dark next to the light of the cup is the obvious focal point. So even though the strawberries are pretty interesting, that's going to be a focal point. Now here's the part I was talking about. The light because that sunlight, what does sunlight do? It warms you up, right? So it warms up colors. It warmed up that coffee in that coffee cup. So at that little rim where the coffee meets the cup, there are some warmer values. There's another luscious Terry Ludwig right there. And some, I didn't want to go too light. You got to watch your values. You want to, if you get your values right, everything's just going to sing and going to work in your painting. And so I want to make sure I didn't get them too light. So I'm adding a little bit of that pretty kind of burgundy rich brick color there. And a little bit more. Look at that beautiful dark there. Just analyzing the reference image and making sure my darks are where they need to be. And now I decide, okay, I've kind of got that in. The coffee cup looks good other than fixing the ellipse of the saucer. And then I'm going to move on. I lightened up a little bit. There is light shining on that top part of the coffee sitting in the cup. And now let's start working on these roses.  Oh, but pause that thought for a minute because I realized I needed a little bit of punch. Look at that beautiful orange Terry Ludwig. And this one's a little bit darker. And that just gave that little hint of light hitting coffee. You know coffee in sunlight, it does have a little bit of warmth to it, the color of the actual coffee. So that is going to really help develop the focal point strategy too. The contrast, when you have light next to dark, your eye goes to that. So that's a focal strategy. And that little difference of color is a color contrast element for focal point. So now I'm gonna work on these roses and I want you to notice how loose and painterly I'm doing this. Now, years ago, I would have felt like I had to try to get every rose petal correct. And now I've learned over the years that I don't want the viewer to focus too much on these roses. They're an exit point, okay? You're gonna come in. I think I love this reference photo so much. It had kind of a nice S-shaped curve to it. You come in at the strawberries, you curve around to the coffee cup, then you curve back around going out to those flowers. And it had a natural focal point strength to it. The strawberries were a bit in focus. The cup is in the center, which I usually don't like things in the center, like with a landscape, but it worked well for this reference image. And then the roses are just a suggestion at the end of the painting. So now I am going to add some music for your listening pleasure as you watch this, but I'll be back at around 34 minutes into the video to share more on the topic of lost edges when I work more on the strawberries. But continue to watch as I develop these roses, noticing that I'm really just working on values, colors, and keeping it nice and painterly and loose. All right, enjoy this music. I'll be back. Nice deep burgundy in my hand. I'm adding a little bit to some of the creases and centers of the roses, but I'm also going to use this color as a dark underneath some of the shadowy areas of these strawberries. That's going to really make them feel grounded and three dimensional. I thought I would also go ahead and zoom in on a little glimmer of light. I noticed that the little highlight inside the lighter area of the coffee cup was kind of a little bluish tint. I just soften the edges a little bit with my finger and it really gives that little reflection. Also adding some purples. I love deep purples and shadows. Here I'm still developing some of the reds. I use a combination of darker reds and burgundies and lighter reds and burgundies, but also cooler and warmer reds in both the strawberries and the roses. Now you can see, remember how I said I worked dark to light? Now I'm adding this really nice cool green. It's just a little bit lighter in value than the dark green I had put down. And I'm popping a little bit of that in with the roses as well. Keep in mind dark to light. I put my darker values down first, laying those lighter values and keeping color temperature in mind because often when things are in shadow, your greens are even going to be cooler. They're not so warm and like that sunlight green, like the one I have in my hand now, which I have reserved to final marks at the end. Just where the sun is glinting on some of those leaves of the strawberries. What are those things called at the tops of strawberries? I don't know. You guys are always so great at commenting and letting me know these things. I'm learning so much from you guys. That's awesome. So now I'm adding, notice this is warmer. Can you tell this is warmer? Some of the warmth from the sun or whatever the light source is that's hitting this coffee cup. I'm allowing it to highlight just those little edges and rims. Again, lost edges. Notice I don't have any lines. And now I'm using that little burgundy to kind of carve in some of those dark areas. Again, those have little seeds in there in the strawberries, but I'm resisting the urge to paint every seed. And I'm just letting, I don't know, I'm being a little intuitive with this and looking at the reference image, but also feeling where the strawberries would be. Now, why would I be layering this kind of cool color? That neutral grayish blue and now this purpley color. I'm seeing the highlights are a little bit cool. So that really gave some color interest, made this more painterly and fun. We want our paintings to be fun, a visual treat for the viewer. Now I'm using this little red again, just tapping in little areas that would be around where some of those seeds would be. I've noticed, I haven't done a lot of strawberries, but I've noticed it's like there's a little divot. The seed is pressed in. So you get a little bit of a shadow around where the seed is and then a little bit of a highlight because the seeds are kind of light. The actual seed is really small, kind of light. So that's my, that's how my strategy is. And I think it came off as believable, but also back to the focus of this video, painterly, impressionistic and loose. I don't have to paint every seed in this. Now I'm giving a hint. I think I changed my mind with that. I was like, that was too much contrast and value. So I decided to grab a little bit of warm oranges. Can you see that? It's a lighter value, but it's not as light as that first one that I put on there. That would have looked very artificial and fake. These are more believable. I think that happens often. We see something as, oh, that's white or that's really light. When really the value is a little bit darker than you think. So I think you can tell that from the, the oranges that I put down versus that creamy color that I started with. Now I'm using this little bit of a brownish to go in and add where maybe some of those little shadows are where some of the seeds are. Again, not everywhere. If it's everywhere, it's nowhere. The first person I, artist I heard say that was Marla Baguetta. I don't know who originally said it, but I give her the credit for that. So now look at this nice neutral, kind of a greenish, neutral golden green. Is that a good description of that color? But it's really given that feeling. I knocked down with my finger that first light color I put down there. And it's starting to feel like strawberries, right? I mean, it does to me. Let me know if you think it does. Give me a comment. And oh, this is a really pretty Terry Ludwig. Look at that coral pink color. This is going to be where some of my lighter values are of the glints of light that's hitting some of these areas of the strawberries. And I thought that this color was great because it was a little bit different than some of the reds that I had. It's like I said, it's a little bit more coral color. And I thought they came out really fun. I liked these strawberries. I thought this painting and the reference image had a lot of neat focal points. But again, you don't want to overemphasize everything. Pick the things. Usually the thing you want to emphasize is what drew you to that reference image in the first place. And I think it was just the beautiful composition. Of course, the coffee cup, but that lead in of the strawberries as well. The roses are a little bit more of a supporting character and an afterthought. And I'm still developing these strawberries, but also notice that this Sennelier La Carte pastel card has allowed for a decent amount of layering. I don't want to overdo it because if I keep layering and layering, what's going to happen is my color is going to get muddy. And I'm going to lose the beautiful quality about soft pastels to begin with. They're one of the most vibrant colors of any medium. It's because they're almost all pure pigment. There's very little binder in soft pastels. So I think that they ended up looking painterly. Again, let me know what you think. I felt like they looked three dimensional. It's a final point because this video is already 41 minutes long. I took a blue and remember what I said about a highlight? Sometimes it's not white. And I took this blue and I did these little swirls, almost oval shaped swirls, around where I thought some of those seeds were. Remember the seeds are pressed in, so it's a little darker in the center. And the outer part is going to catch the highlight. So I just suggested that, and I thought it made that feel a little bit more strawberry-ish, if that's a word. So here's a little bit more of those final little highlights of warmth on some of the greenery of the strawberries. Trying to keep in mind that the warmest colors and the lightest values are only going to be where the light is hitting them. And now I'm adding just a little bit more, like I said, of that blue. This time I'm just glazing it a little bit on some areas and just enhancing that highlight of the strawberries a little bit more. Now I did want to lighten some things up. I'm looking now at where some of the cloth is lighter, where the light is catching it. And just literally just giving it a little glaze, turning the pastel on its side. And you've probably noticed the majority of my strokes are not linear. They're using pastels on their sides or just maybe a slight little edge of the pastel. That, again, is going to help you to create those painterly edges, lost edges they're called. Lost edges really, and let me let me just wrap it up with this video. They're not defined. It's just a suggestion of an edge. And again, those soft and easy edges are going to help your painting. I want to personally thank all of my patrons on my Patreon page. My husband and I, thank you so much. Your support has helped me keep these videos coming to many all over the world and help us just keep going personally as well. So God bless you all. Thank you so much. Comment, like this video. And as always, God bless and happy painting.


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