Hi. I want to introduce you to our second speaker today, Greg Gazdovich. Greg Gazdovich is a type designer. He hails from the suburbs of Gaithersburg, Maryland. He escaped to study at the Maryland Institute College of Art, MICA, where he found his deep passion for graphic design, type design and cycling. Greg has worked as a graphic designer at branding studios, startups and nonprofits before working in the field of typeface design. He completed the type at Cooper Extended Program in 2014, months after joining the design staff at Commercial Type, where he has since worked on custom typefaces for branding, publications and online design and contributed to Publico, Text Mono, Chiswick, Sands and Lejeune, which are typefaces. I'm really excited to hear more about Greg's sort of process. There was actually a question earlier on, how do you design a typeface? So we'll find out all about how exactly you go about doing that. Thank you, Greg. So I'll talk to you about type design.  Okay. I mean, that's not that important. I was just kind of curious. All right. And I guess a quick overview. Wow, it's crazy seeing this big. I just wanted to give like a short intro to the studio to kind of show like how we operate and how we make our work, which will kind of lead into the idea of vanilla relating to a specific typeface. And that will kind of lead into the two types of typefaces. And then I'll finish on my own typeface for release that came out a couple years ago. But hopefully like all of this will come across. I'll get the idea across that type doesn't really live in isolation and it's kind of all about context. Hopefully we'll get that. I don't know. We'll see. So like she said, I work at a commercial type. I would kind of describe commercial type as a digital type foundry that mostly does custom typeface design. And yeah, we have like a large range of clients that we work with art museums, magazines, tech companies. And we're comprised of like seven to nine people. It kind of varies who you ask. I won't explain that. But so we have two partners, two designers, me and then Tim, who's sitting right there. He's the other one, a font technician, licensing specialist and a studio manager. And we're like relatively small. There's studios that are way bigger. There's some that are actually even smaller, like just one person in their room drawing type. And we usually have a lot of like close collaborators and freelancers working with us. So that's kind of why it seems a little bit after changing. And so this person is Christian Schwartz and Paul Barnes. These are the two partners. Paul would kind of describe Christian as more of a professional typeface designer. He's made typefaces such as Amplitude from Font Bureau, Farnum also from Font Bureau, FF Bow from Font Font. And I guess he's most known for Neutrophase. There was even that, you know, silly video made about it. And Paul would call himself more of a graphic designer even though he's designed a lot of typefaces. But he mainly calls himself that because he really got his start out in magazines. He was an art director for Spin Magazine. He's done some logos and typefaces. This one for Bjork. He's done a logo for Kate Moss. He also has like a long running collaboration with the designer Peter Savill. And they've worked on various projects like one of them being this kit for a soccer team in England. And even more recently they worked on the rebrand of Calvin Klein. So we as a studio make functional typefaces. We also make expressive typefaces. We make modern typefaces. And a lot of it really kind of is historical. But we also make historical typefaces. We've worked with large cultural institutions like the National Trust which is in England, Wales and Northern Ireland. Brands like Sprint. Even Umbro. Paul did some numbers for them a while ago. Kind of like a quick project. And we also collaborate with a lot of graphic design studios. This was an art exhibition in Istanbul with the studio formerly known as Project Projects, now known as Workshops. I feel like there needs to be a transition period with that studio right now. Because people need to make the jump. Also really like high-end luxury watches, you know, we've done it all. Landmarks, then Empire State Building. Left-leaning Italian newspapers. Some fashion magazines. Men's magazines. Pop culture magazines. And Oprah's magazine. And that typeface actually was one of her favorite things. So it's always nice to remember. Okay, so the idea of vanilla. And as it relates to the typeface graphic by Christian Schwartz. What I mean by vanilla is, you know, the opposite of being so expressive or something that is more neutral. Kind of sits back when you use it. But is quite ubiquitous and versatile. And it's important to note that most of our ideas come from graphic design rather than just like straight-up type design. We don't always just like directly look at a specimen book and just draw what's there. It's kind of important to know that these things were used by graphic designers. And the typeface graphic really kind of comes from Christian's love of certain designers like Max Bill or Karl Gerstner. And their use of European grotesques. So this is really weird. This is all really squished on the screen. And yeah, there's also, you know, the B-sides of European grotesques. Like Paul Renner's lesser known plaque. It's a great typeface and it heavily influenced graphic. And I don't know if all of you know Paul Renner is probably most well known for drawing Futura. Everyone probably knows that typeface or has at least seen it. And then also the typeface noiseite. These typefaces were used but they weren't, you know, like at the forefront. They weren't accidents. They weren't noyahas. And graphic kind of sought to synthesize all of these things as all of these ideas into one typeface instead of just pulling from one directly. And it kind of ends up being kind of interesting. It has this geometric simplicity while having the warmth of a grotesque. And it can go up to a very heavy weight. And just recently a lot of different widths. We have like graphic XXX condensed and all this stuff. It's a very versatile typeface. But, you know, with it being vanilla it can take on a myriad of different voices. A lot of different tones. So it can be very straightforward and clean. It can be projected in light. And then it can also be beat up and like be more illustrative. This is a poster designed by the international office. And because of it being so kind of like bland and kind of sitting back, designers can really take advantage of it and just break it up and do interesting things with it, create interesting textures. And this leads me to say like there are two different kinds of typefaces and I'm curious to see if anybody knows what they are. Anybody? That's an interesting one. Anybody else? You in the back? That is a good answer but it's not the answer I'm going to say. I should have maybe worked that one in. So how we see it is typefaces that do whatever you want them to do versus the typefaces that do most of the work. And I think this is kind of an important distinction because of this idea of being vanilla. So another typeface, Atlas grotesque. It's extremely neutral and can be used in so many different situations, in different tones. For example, it can be very informational for this company that uses or makes really data heavy reports. And Atlas was actually made as a custom typeface I think for this company Munich RE reports. And it actually saved them millions of dollars because it had a little bit of a tighter copy fit. You could actually save a lot of paper. It saved them millions of dollars apparently. But it can also be just very straightforward as in like this person's personal website. It just is very stripped back. It's very plain. And it can be a little bit more modern and clean for this Danish wood company. Or it can kind of embrace its techy kind of vibe and take this on as a tone. One step further away from that in the more interesting direction is Marsans. It's a little bit less neutral. It really gets this interesting vibe when you see these strange characters like the lower KCG. It just jumps out at you. You kind of encounter its strangeness as you read it. But what's great about it is that as you're reading it, you notice that there's character, but it's not overly jarring. It definitely has its own presence, but it's not shouting. It's kind of just like talking with an accent I'd say. Because Paul did design this, he is English, so he has an accent. And on the further away on the other spectrum is platform. You know, it's hardly neutral at all. We would say it's vanilla with flavor. It has a lot of character because of its drastic proportion changes. Like the lower case letter forms are almost as tall as the caps. And that gives a very large presence. The round characters are extremely wide while everything else like the N, U and H are very narrow. It kind of makes it an interesting texture that you don't really quite see very often. And a lot of this is drawing from like the history of geometric sans serifs. It's not solely, you know, something out of the blue. And what's great about it is you can just set it really big on a poster and it looks great and it kind of becomes graphic design just by using it. You don't have to do much to it to make it interesting. You know, in contrast to if you set the same poster in graphic, something more vanilla, it just kind of doesn't have the same punch to it. You can kind of see that platform, you don't have to do much graphic. You have to do a little bit more. And similarly, if you use another geometric sans serif like Futura, the same kind of thing happens. And I guess another great example is this website that uses platform. You can see it has a very specific voice, the way they use it. And if you saw it in anything else, it just kind of like destroys that voice all together. Let me... And so, Noya Hoskar test, probably the most vanilla typeface you could get. It was originally commissioned by Richard Turley, actually for the Guardian like a long time ago, but that got shelved. And then later again, when Richard Turley was at Bloomberg Business Week, he was like, okay, let's dust this off and like, let's use this. They were kind of thinking that they need something that could take on different tones of voice, but wasn't yelling its own. They could really use it as a basis to build on top of and to illustrate with and to just like, you know, do whatever they want with it basically. But also it can just sit back when the imagery really needs to jump forward. It kind of does this double duty. It can be very serious, very neutral. But to be honest with you, it can be extremely boring and a lot of work. For example, like making this spread, you can imagine like being the designer for this, having to like chop up the letters, arrange them, or if you write a script to do that, you have to think about how to do that and what program or whatever. Tim could probably figure that out. But it's time consuming altogether. And when you're working at a magazine that's a weekly, you don't really have a lot of time. So imagine doing this, you know, working very hard with this bland typeface to make it more interesting, to make this spread. And then all of a sudden your editor might call and be like, oh, hey, like the headline changed. So you need to change that whole treatment. And you're like, so they kind of started realizing like, hey, maybe we need to like add something to this typographic palette to make our lines a little bit easier on this like short time crunch. And at that same time, they had commissioned these numerals from Burton, Hezebe, who was working with Commercial Type Awaago. And it was mainly used for like infographics, you know, like big data stuff in the magazine like here. And after like using it a lot, they really love the numbers. They're kind of thinking like, oh, maybe this could be the direction we go in for having something to use against Noya Hasker-Tess, something that's a little bit more punchy and makes our lives easier. And so they looked back into history, of course, at a type specimen. But really what they were really finding is that, okay, we should look back at like the hallmarks of editorial design. And one of them being Willie Fleckhaus' twin. This is like still like magazine designers like reference this magazine to this day. It's a great magazine if you ever get a chance to look at it. So they were kind of going back to this and for inspiration. And really in this magazine, there was a lot of like contrast in the typefaces that they use. It was something really wide, something ultra condensed. It was very like in your face. And the spreads are like pretty impactful. And this was kind of like the jumping off point for what would become what they use. So this became the basis for a drug. And the drug can be set tight. It can be set huge. It's super condensed. The letter form is just kind of like locked together in these great word shapes. And they're just very striking. You can set it really large and just becomes, you know, your life as a graphic designer becomes so easy. You just have to like set in drug and you're just like, all right, boom, done with that. Next spread. And it has so much personality because of its proportions again. It being very condensed. It bearing very heavy. These extreme italics can really play off of Roman really well because they're more italic. You know, they're very angled. And with this magazine, I'm sure some of you are familiar with it. If you're not, they have a problem where they have to deal with a bunch of old white dudes being on the cover. And like, how do you make that interesting?  So drug really helped them solve that problem by having like, okay, you can just blow up Carl Rhodes face really huge and then throw some drug on there. And it becomes a very striking cover. You can play with a lot of things here. It's made the designers lives like super easy. And you can still beat it up because it has a denseness to it that you can play with, which is interesting. It can be more illustrative too. But also just played straight. You can do it however you want. Around 2013, they retooled the culture focus etc. section in the magazine and it needed something to play against the condensed styles. They were like kind of, alright, we're like going through emotions again of like we're getting, we're overusing this typeface. Like we need something else to contrast it. Like what could be, what can we do? So we go back to ceiling graphic from graphic design. The Dutch connection. So looking at designers like Pais Wart, Willem Sandberg, who are like notorious for using a non-scrotesque. It's just like a super wide, super heavy typeface that just has a lot of like heft and like meatiness to it, very punchy. But these people use it in very vibrant ways. So this is like a jumping off point for the next thing that will be used against truck condensed. It's just kind of like what they needed was the obvious step to go into. And also kind of tying everything back to the inspiration of Twin Magazine in the beginning. So as you can see, having the other extreme creates a great contrast with the vibrant layout. You can really just like play with the quick change of weight and density and width. And it just becomes extremely just like interesting, just kind of like clicks together in a way. And you know, while at once this is an homage to Dutch graphic designers of the mid and early 20th century, it still has like a very interesting fresh and expressive contrast. And you can use it in very interesting ways by, you know, playing with the density. And this has become a look, but it's still like a striking effect, I think. So in the end, the Druck family is a family without a middle, just the extremes and no compromise. It just like gets heavier and heavier and wider and wider. You can make these really wonderful lockups that are just like super eye catching and you don't really have to do much, honestly. You just kind of like set it and it's like, this is a great poster. I want this poster. And it also kind of takes on this structural quality. You know, people use, like for instance, the Space Matters website. It's very interesting seeing all the different weights and widths used together in this interesting way instead of just kind of how other people were using it. It's not going to be a quick note. I guess, okay, so a transition into the next section. A little bit about myself and how I got into typeface design. I had originally gotten a documentary from my type and lettering teacher, Ben Kiel. It was a very interesting documentary about the Dutch book and typeface designer, Bram de Doze.  He's just a very interesting person in general. He's only made like four typefaces, I think, in his whole life. But I think that was like kind of great about him because he was all about making type as a specific tool. It wasn't just kind of like fiddles to him because he was a book designer at first. So he was making typefaces for books, specific uses. And that's what I think sparked my interest in type design is that it is a tool. I'm making tools for graphic designers to make graphic design with. And that's kind of like an interesting idea that I can inform graphic design and graphic design can inform my work. And it's just like a very interesting relationship. And so I'll talk about my typeface Robinson. And this actually started like a really long time ago when I was an undergrad. I was just like, again, learning about typeface design and like getting super excited and I have all these ideas. But I really sucked at like drawing and spacing and all that kind of all the important stuff. So it was kind of the typeface that I learned how to design type with in a sense. And this typeface, I would work on it like after I graduated, you know, when I had time like nights and weekends because I was working at like graphic design studios. I wasn't doing typeface design as a job yet. And this typeface really came out of my love for typefaces like Lydian, which was used on a lot of different book covers in the like 50s, 60s and beyond. Other typefaces like Samson also again like used on book covers, record sleeves all over. And also the typeface Franklin Gothic. Just because of me being an American, I kind of just grew up with this. This has just always been around, same as Helvetica. Another inspiration was the work of Berthold Volpe. He created the typeface Albertus. He just did these like wonderful book covers that just have so much life and energy in them. He was just like trying to figure out a way to capture that energy in this typeface. And upon like working on this typeface and researching and looking at stuff I like looked at when I was a child, I realized like, yeah, this typeface is all over the place like throughout history, all over books. And that's what I thought was kind of great. You know, I read This is a Child, This is in my school library. But it also spanned into other stuff like idealism by like a German philosopher and even like racy like romance novels. So it was like really all over book covers like throughout history, which I thought was kind of interesting. It had really like interesting texture to it. I think what I love about is the calligraphic feeling that you get from Lydian. It was actually based off of the designer's steel brush calligraphy. I forget his name. Do you remember, Lynn? The name of... It doesn't matter. He's old. And I also love the typeface Franklin Gothic because it has such straightforward stripped back kind of versatility to it. Kind of an opposition to what Lydian is. It's kind of this more trendy kind of looking thing that people use. And I think that's kind of what I hated about it is that when you used it, it just kind of looked like you were jumping on a trend. And it wasn't actually that useful. It kind of just was more like it was trying to be calligraphy instead of something else. And I was kind of thinking in my head like, well, as a graphic designer, I don't know if I don't really want something that just like looks like calligraphy. I wanted to have a little bit more versatility, something more like a grotesque. And I love the energy and the detailing of calligraphy and the structure of a sans. And I was like, oh wait, maybe there's something here. Maybe I should try my hand at making this typeface because I think it would be an interesting thing that I would want to use on books or general graphic design. And so this is the first attempt I made. And for some people, they're like, OK, yeah, that looks kind of interesting if your taste is bad. But I was making it. I was like, man, this is awful.  This is not the cool idea ahead in my head. And this is the earliest version I could find on my hard drive that could make words. And I was just kind of looking at it and like, what is wrong with this? And really, again, like playing catch up with my skills and also catching up my skills with my idea. But what really makes this unsuccessful in my point of view is that the forms weren't really utilizing the characteristics of calligraphy and the structure of a sans is kind of roughly there. But it was just kind of like I was hinting at things. If you explained calligraphy to an alien and that alien was like, yeah, this is what calligraphy is. It kind of just had these, the logic wasn't there. It just wasn't really coming together. The structure is maybe getting a little bit closer here or something, but it just kind of gets worse from there. I was really like, OK, I'm really not understanding this. I should probably just go back and practice calligraphy. And I'm in no way like a good calligrapher at all. But really, it was just to understand what I was doing, what I was trying to do and see that the structure has a logic. There's a ductus. There's a way to do this and just really understand the forms. And so later on, after years of figuring it out, you can tell that the pen is present, but it's not so explicit that it looks like it's written out. It kind of strips away the dust of what Lydian has or had and hopefully injects some kind of energy into it. Some magic energy that's spelled wrong. But this is important to show because I wanted to ground it in something very familiar just because I feel like it needed this to make it more interesting. If I just digitized calligraphy and made it kind of more sans-like, it's like, OK, it's not really going that far. So I really try to make sure that the structure of it resembled something like Hovettica or Franklin Gothic. It has the idea of something constructed. And I try to expand this out to the family as a whole, not just the idea in the forms. So the italic is actually a lot narrower, a little bit lighter than the Roman so that there's an actual shift change when you're reading in text because italics, how we use them today, is for emphasis.  And so this is the full range of weights. The heaviest weight is really good for posters. It kind of just like punches you in the face and just has like a lot of energy in it. The regular italic are great for setting text and it brings a nice warm texture to it. It kind of has that familiarity of Franklin Gothic but with more warmth in it. I wouldn't go as far as calling it rustic, but it has this kind of warmth to it. And the lighter styles are great at either sides. They're just kind of becoming elegant and pretty at that point. And so the first uses actually were the Whitney, which I was like over the moon about because I've always wanted to work with cultural institutions like the Whitney and it's right next to a Christopher Wool piece. Like how cool is that? I can't. But again, like here it brings some kind of warmth to something that could be very bland. More recently it was used for a bar up in Astoria. My friend Luke Williams had designed all the branding for this. He even hand-painted it onto the front of this thing, which I don't know why he would do that, but it sounds like a lot of work. And here's some in use in the drink menus. And then this photographer had used it for their branding. And I think it's kind of interesting here because it's such a clean and straightforward website with very clean and straightforward work that it brought this little bit of edge to the website. Just like the slight 2% that you need to make just that much more interesting, where it kind of brings up warmth that the photography and maybe the website itself may not have. I think it complements it well in an interesting way. I don't know how well you can really see that, but... It was also used by the designer Benjamin Shakin in collaboration with the artist Mark Dion for this book. And this is kind of like coming full circle in a sense that it's inspired by typeface lettering and on book covers and whatnot. And also funny enough, it's on the back of a car tire somewhere in America, I don't know where. But I think it's the only commercial typeface to be on one, so I'm pretty proud of that. And that's, I think, all I got for you, so thank you. I don't know if you have any questions. Yeah, we'll take some questions. I didn't really tell you exactly how to design a typeface, but... Which is not possible to do in 45 seconds. Yeah, if I could do that, I'd be like Matthew Carter or something like that. Yeah, we'll take some questions. What was the process for deciding that the dots on the eye would be round for the typeface? It's something that always makes me sweat. Robinson or for something else? Yeah, for Robinson. Oh man, I drew so many different eyes for that. And it really kind of came down to just what looked best, honestly. I had drawn four or five different eye dots, and I showed them to my boss, Paul, afterwards. And he was like, these all just look wrong. I was trying way too hard, and it was really just like beating a dead horse, basically. And it just needed to be something a little bit more simple and straightforward. Because everything else made it look like it was just trying way too hard. And it was just kind of a little bit too much. The A changed its shape between the normal font and the italic font. Yeah. I was wondering what was the reasoning behind that. So that's a common thing. I guess maybe somebody that does calligraphy, like Lynn over here, could explain this better. But the italic hand really came from... I think I'm going to get this wrong probably, but it was meant to be faster. And someone said save space, but I don't know about saving space. And so they were really trying to focus on writing quicker. And instead of doing like an A that goes like that, if you just do one motion, it's faster. So that kind of set the precedent for how that form should look throughout history. And that kind of like has followed through just until now. I mean, there's a lot of typefaces that have italics that don't have that form. It's just kind of what I thought fit best in this typeface. If you look at, you know, another boring Sans, it's probably going to have the A as same as the Roman. So, yeah, it kind of just came back to the idea. Is it possible to combine or would you recommend combining two different typologies in the same text? I think the heading and the body. Yeah. I mean, honestly, like, I think if you have an idea for why you're doing that and it looks cool, then, yeah. I don't know, because I feel like, you know, sometimes people have very strict rules about graphic design. I don't know if I would feel that way. You know, I think as long as it looks good, it works with the idea, then, yeah, you should really be able to do it. I'm not so like strict about stuff. If it looks cool, I think it should be done. Do you still make graphic design or are you sort of more focused on type design nowadays? I try to, but like I made a poster for a friend recently. But I was like kind of like, oh, I'll just use the typefaces that I haven't released yet. So it's like kind of like testing out stuff that I've been drawing. What are you working on now? Right now, I'm working on a serif typeface. Well, two serif typefaces. One is custom. One is like my own personal project. It's just kind of a, I don't know how much you want me to go into it. When you say custom, you mean you have a brief from a client. It has a very specific application. Yeah, exactly. Yeah. They're asking very specific things that, especially with like the character set, how many, what letters they want and everything like that. They kind of left it up to us how it looks. There was some stuff early on, but as a project evolved, the brief kind of changed strangely enough. There was a very big focus. That never happens in design? Well, yeah. Yeah. It happens all the time. Like for this, it was like very specific focus on like, okay, low quality phone screens that a lot of people use in like other countries. And then one day they're like, oh wait, you don't have to worry about that. Like, just, yeah, don't worry about it. All right. We'll just keep going then. So yeah, that's like, and our time is usually split between either custom projects, our own personal project project and release stuff. Like we have stuff in the backlog that we're trying to release through the foundry. And then hopefully our own work will be released. There's a recent trend where graphic designers are often releasing their own bespoke typefaces. I was wondering what your opinions, thoughts were on that. I don't know. Kind of on the fence. Because you know, some graphic designers are actually pretty talented and they can make a really great typeface. Sometimes they have really great ideas and it could be great to collaborate with somebody instead of maybe trying to do everything on your own. Yeah, I don't know. If it's cool and it works well, like that's great. If it doesn't, then you don't have to look at it. It's very simple, I feel like. What's your favorite scale to design a type ad? Sorry, let me repeat that question. What's your favorite scale to design a typeface ad? That's hard actually. I guess because there's so many different solutions and problems that you have at certain sizes. Like small sizes, it's like, well, can I get enough character into this to make it interesting at such a small size? Like is that even possible? And I guess with big stuff, it's like, well, how do I make this as crazy as possible and also work at a big size? I don't know.  I like all the sizes. I'm not discriminant in a sense. Whatever opportunity comes that's interesting is kind of fun for me. I don't know if that answers your question. When y'all, do you work for graphic designers and kind of end user clients like the restaurant or something? Or is it typically through like one step removed through a graphic designer? This is where it gets really hairy. I'm giving you the most non-answers ever. I'm sorry. But it really spans the whole range. We've worked with a lot of people that are at agencies or design studios that have a client. We've also just kind of done some random custom stuff for graphic designers that are pitching for something else and it doesn't work out. We've worked directly with clients with their design team or something like that, a creative director. Magazines, it's mostly like a creative director and they have to deal with their editor. So it's really like the whole gamut. We've kind of done it all, honestly. And then with licensing, how does that work? If you create this custom type you're designing? I'm really not the person to ask about licensing. This is the answer I give to anybody that calls me at our studio on the phone. I'm just a designer. I can't help you. They get really frustrated with that. Is that because you know a little bit about it? You know enough about it that it's so complicated that you don't even want to engage in that conversation? No, it's mostly because we have a licensing person. I'm like, you just call them and they'll handle it. But yeah, for custom stuff, it's kind of what's agreed upon. Like with magazines, the budgets are getting smaller. So they're not always buying a custom typeface and having it be, what's the word I'm looking for, exclusive. Because somebody might want the typeface to be only theirs first amount of years and that's fine and good. But there's a price for that. Some people, because they have no money now, it's just like, okay, you're just the first to use it and we'll probably release it on our own. Like you just pay us a sum of money for the design work, the production work and you know, the rest is yours. And then for the bar, like my friend just like bought the typeface and just like decided to do that project with it. I didn't really know about it until he emailed me when it was all done. I was like, oh cool, that's awesome. So yeah, it kind of really changes. Could you expand on that a little bit because I, even as someone who has worked on projects with custom typography, which happens rarely because it's hard to always convince a client who's never seen the value of that before to go with it. But we had an opportunity to do that recently. It was really exciting and I didn't really understand even as a designer for a while all the steps in the process of actually delivering that to the client. It's not just the design of the type, right? There's all these, there's a licensing person. Could you talk a little bit about beyond just the type designer, how you get out in the world? Yeah, it really depends on the project too because we've worked with more tech companies now and that involves a lot more technology problems or solutions maybe I should say. And so once it leaves my hands into our font technician, he kind of does a bunch of things to make it really work in all these different environments. Not everyone has a Mac. Typefaces have to work differently for Windows computers and how they render on those screens. And that's just like a whole other thing with hinting so that those things actually work because, I'm sorry, this is very scatterbrained because it's just very technical and I'm trying to condense it down. So yeah, Windows computers, they need different font files because they have different rendering engines to display the fonts. Macs make it easy, they don't take the hinting information, they just take the typeface as it is and just like show it to you. I guess in hope that screens will get just better and better and that we won't really need hinting at some point, hoping. Because it's a long laborious process of trying to make your typeface look like your typeface at all the different sizes that it could appear, which just seems like a ridiculous idea in general. So our font technician has to deal a lot with that. There's a lot of weird stuff with accents, especially if there's like a really extended character set. We're dealing with that now where we're covering languages that I don't even know what they are. It's just very like things that are just combined together and that's like helps for the new language and that's great. But that entails a lot of technical problems that our font technician has to figure out. I have to design it all and he has to just like make it work somehow. I think it's interesting just because it's really no one knows how much goes into the production of a mainstream widespread distributed typeface. I think it's just an insane amount of people involved in hours. Oh yeah, I mean even years sometimes too.  And if you're doing it on your own you're not getting paid to do this work. You're kind of just doing it on good faith or hoping that somebody's going to buy this thing when you release it out into the world. And that's what's kind of nice about custom work is that you know there's something valuable in it because somebody already really wants it. And you also get paid while you're working on it, which is great. Thanks. So yeah, I hope that answers your question. I had a few questions but they were kind of asked already. But maybe one that I'm sure is like going through students minds. And as a young student, not that old, but you know looking at... Age is relative, whatever. Admiring typefaces, finding them on the internet, downloading them, downloading hacked versions of them. And then kind of meeting people who designed them and realizing like I should pay for these things.  I got student loans. Like I got bills. But one is like kind of an attitude towards that and maybe for, you know, cash-strapped students. Ways of experimenting with things. I mean there's for example like really type does limited editions for students for non-commercial work. But things like that and sort of accessibility in the spirit of kind of intellectual openness and generosity. Yeah, I know that commercial type has donated typefaces to schools before. I know like my alma mater, Micah, we had donated some stuff because they had a very specific project that they were doing. And I thought that was like really cool. And I mean we're all about like specificity. So it was kind of great to see what they made after that. I'm sure we've done that with like a lot of other schools. And it's kind of difficult in general. I mean everybody wants something for free and it's kind of hard to give something away for free because then everyone always sees it as you give away for free first. So why should I pay you now? It's a difficult thing. I don't know. I'm not really sure what the exact answer is. Like I would always want to help out students and stuff like that. So if they emailed me, I would like send them some beta version or something. But yeah, other people are very open with their work and will send their work out. And I think that's great too. And it opens it up for everybody. So yeah, I am kind of like on the fence about it. It's hard. You know, a lot of people want to screw you over, but not everybody does. And it's like how do you navigate that? How does anybody kind of figure that out? Well, the more access like students have to the type phase, the more excited they get about using them. And I think it is this feedback loop. And it is really hard though because you want to encourage a good behavior. I just want to encourage experimentation. Yeah, I mean, I was a student too. And I remember like, oh man, I really want this type phase. So I just stole it and just used it. Nobody will know? Yeah, nobody will know. And then the thing that I realized after realizing, oh, I like type design. This is great. I've been stealing people's work. I should probably pay them back. When I graduated, I bought typefaces that I wanted to use. And the typefaces that I, some of them I tried to use in school. And it's like, you know, yeah, basically, yeah, basically. What do you think of Google Fonts? I'm actually making a Google Font. I think they're getting better, honestly. Like Spectral, I think, is a really good typeface. It has interesting things about it. And I think, you know, it's great that there's an option that has good choices. Like, you know, there's some stuff there now that's like, I didn't use as a graphic designer, but somebody may find useful. I think it's interesting that they're just like opening it up to everybody. And I don't know, that's kind of the thing I think is that, like, why shouldn't everybody have good type choices? And like, if Google is willing to do this, then, yeah. I'll, you know, do it. All positivity. Maybe one last question. So, as a designer, you know, we, I hope to only work on projects that I love and, you know, and be able to sort of stand behind the work that I make of, you know, we all know that that doesn't happen 100% of the time. But as a type designer who gets to work on, you know, your kind of self-initiated projects where you set the brief, you figure out what you're interested in, you find the historical references and or old specimens or whatever, you get to work on that versus these kind of commissioned works, the custom typefaces that you have to do for a certain brand or a certain publication. Do you ever have to work on a typeface that you don't like? Yeah. That happens a lot. I mean, you know, it's kind of the thing, a lot of studios, they do projects that just make them money because they need to, you know, you need to get by. And sometimes those projects are just like really, just really, you know, not fun. But you know, in the long run, it helps out the studio, you know, to do other projects that are more interesting. So I think, you know, in the end, you can kind of see the light in doing those kinds of projects, at least for us. We've made intimate works on the projects that we absolutely hated. We got through it though, and now we get to do the stuff that we actually like. So I think life is about balance in general. You can't really enjoy the good things about it unless you've experienced bad things in a sense. You can't really see the highs without lows. So in a way, I'm appreciative of these projects in the sense that they allow us to do more interesting stuff. But I can still complain about them when I'm doing them. Yeah. I hope that answers. Okay. Thank you so much, Greg. Oh, yeah, no problem.


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Hi everybody it's Sam from Mixed Up Craft, thank you for watching my tutorial today. I'm going to show you how to make a quadruple slider card. Now I have made this on my channel before, I made it about two or three years ago maybe and since then I've now brought out my own set of dies to make this card. So you can either look back at the old tutorial or you can use your dies which I know many of you have to create this version. Now you can create it with or without the plastic. With the plastic it will allow you to just pull one side and the opposite will pull out and then again here you'll see the opposite will pop out. And it's just by adding a strip of plastic around the mechanism that you will already have. Really fun to do, I can't wait to give this card to my mum for her retirement because I know she's going to keep this displayed in her craft room and enjoy it for many years to come. So let me show you how to make this fun card. I'm going to be using the square double slider die set. So you'll want to die cut everything that you would normally for the normal double slider which I've shared and I have tutorials and I'll link those up here. But you won't need to use this one. So if you're going to do it using the plastic like I've explained then you won't need this. However if you don't have the plastic and you still want to make the quadruple then you'll need to cut yourself four of these because you'll need one for each of the pulp pieces. Again those of you that have the dies will know exactly what I'm talking about. But for this one I've die cut one of the stand which is on the back there so I've used the yellow. I've die cut two of the largest square here so I've got one for the front one for the back. You will then want one in the next size down of the squares here and I've used it for this white which is my main top and I'm going to build up the flowers around that. And then you've got your mechanism piece here and I've just die cut two of those. Again if you're going to do it with this and you don't have the plastic then you would want four of those because again you'll need it for each of the pull tabs. I've then also gone and cut myself four of the largest pull tab pieces here and then I've cut myself four of the next size down for me which I've stamped on. I've also added the stitch detail there which you also get. You've got the option to have it in there or not it's entirely up to you. But that's everything that you will need to cut and then before I start putting it together I'll show you what I've used to decorate each of my pull tabs because you'll want to decorate these first before you stick them down. So I've got this one which is going to come out from the top, this one from the right hand side, this one from the left and this one is going to come down from the bottom. So I have used and then these are the flowers that I'm going to be decorating on the front. The flowers are from the box 15, it's the Linda Parker one. I believe there may still be some available. I'll have to check again all the links as always will be shared in the description box below. So for all of these images here because again it's the retirement card for my mum who's a crafter I have stamped these different scenes using the crafting with friends and it was the A4 creative stamping stamp set that came with the magazine. So I've tried to do like a papercraft one. This one is kind of like her junk journaling that she enjoys doing and she makes envelopes and things like that. This is the sewing that she enjoys and then this one's here that's more of your art and painting. So I just try to, you know, pop them into categories there. So that's the one I've used. I took the mum for my topper here from this older creative stamping magazine issue 40 and it was handmade with love. For the happy, I've used the word happy that comes in this stamp set and I've taken the crafty section just from this one here. Have a crafty birthday. I've literally just stamped the crafty. So you've got happy crafty. The lockdown I've taken from the creative stamps missing out stamp set. You've got it here and then retirement comes in this kit as well. So I really have taken all different sentiments from different, you know, stamp sets to create that one sentiment on the front there and then all those flowers will be built up around it. So get these coloured and then you can stick them onto your mat layer.  So I'm going to get them stuck down first. Okay, so I'm just sticking down that one as well. What I'll do is I'll just quickly pop in a very fast video of me colouring these and just showing you how to do the masking. So you just stamp whatever image you want to be in the foreground. You stamp that first. So in my case, I've stamped this cluster of envelopes here. I stamped that first and I stamped it again on masking tape, then peeled the sticker, cut around it, peeled this off and stuck it over this and then stamped everything else. And that will then, when you remove the masking, all of these other stamps will be behind this image. So I'll pop the video in the high speed part now and you'll be able to see exactly what I mean and how I've done that. Many places, but what you want to do is you want to cut it so it fits just within the width of these strips here. So I'll take this one here and you're going to feed it in one of the end strips there. I've got static all on mine, so it's sticking to me. Let's just get that one through. There we go. So don't worry if it's a little bit shorter. I've cut mine a bit shorter there, but can you see now that just goes through the end and then hopefully yours won't have as much static as mine has, because it's full of it, but it will be fine. It will actually help it move even better because it'll be stuck to the cardstock. But can you see how I've just gone through this end one and all the way through to that one there? You can see it just slides. Okay. And then you want to bring it. And then what I would do is just pop your tape on the end of one of the pieces. Make sure it's nice and flat. And make sure you don't have anything sticky. I'm actually just going to cut the end of there because you don't want anything sticky touching here. I'll hold this up again for you in a moment. Peel the backing off. Make sure that's nice and flat. And then just bring this around. It's nice and taut and just let it sit over the top. And then you'll see I've got this kind of excess piece here. Just trim that away. And now you'll have this piece that will move from side to side. Now what I would suggest is have this join either here at the very end or at this end here. You'll see now I'm going to butt that right up there. Next I'm going to pop. I would suggest that the thinner tape you use, the more of the side piece is going to show. So I'm actually now going to swap and use this thin red liner tape. I'm just going to run it right along the edge there. You'll be able to see this because you can see that red tape nicely. Make sure that's stuck down. And then again just take the backing off there. Now make sure that's kind of in the middle. And then you want to decide which ones you're doing. So I'm going to do the left and right ones here. So the pink ones. Whatever's going to come out from for me for the right hand side, you need to make sure that the sticky bit is on the left hand side of this piece. So because I'm going to stick that there, I'm going to pull it across. So you need to work opposite to the side. So if you're working on the right, you want this to be stuck on the left. So hopefully that makes sense. And you can see exactly what I'm doing here. But I'm now going to line this up with this strip here. And then I know it's stuck on the plastic. I like to say. Okay, so now you'll see that that slides perfectly. So next close it back up. And then what's going to happen is this one is going to go underneath. Once we've got our top one, but you'll see as you pull it, this one will come out and this one will come out. So with that closed, you want to put your tape along this side here. Right down. Get as close to the edge as possible. Then with this one again, I'm lining it up with the track, not the plastic. So just lay it down. So make sure your image is the right way up. I've already checked mine. And then you can see they move really nicely. Obviously once it's stuck in the card, it's going to stay there and it won't slide up and down the tracks either because we're going to pop our foam there. So that's that one with this one. You're going to do exactly the same way. But obviously you've got your images. Make sure they're in the right orientation that you want them to be shown. Again, I'm going to grab my strip here and just slide it through. Tell you how long I've cut this to as well because that will help some of you. This is roughly 11 inches. So I'm just feeding it through the end ones with that one there. And then again, I'm just going to fold that one over. I'm going to run my tape. I'll stick with the red tape while I've got it here. Try and keep your plastic completely flat. So keep it nice and taut. So if you do have anything sticky exposed, use an anti-static powder and just brush it over or maybe some cornflour, but brush it over anything that may be sticky. So again, you'll see the join there. So I'm just going to push that to one of the ends. It doesn't really matter. And again, I'm going to add my double-sided tape along the top there. And then I'm going to grab this one. So this is the one that's going to pull down. So again, I'm just lining it up with the track. So you can see now that will pull down. So then I want to flip this over and you'll have that turned over, but I run them around my tape along the bottom there. Again, make sure your image is where you want it. And then I'm just going to make sure your plastic is kind of, you know, kind of in the middle and then just stick that one down. So it's everything nice and straight. So now we're going to end up sticking this one over this one. But those two will pull out and then those two will pull across and then our topper with everything on it is going to build up on top of it. So next we want to grab some foam tape. So I've got these strips here, which I picked up from Amazon and I'll share the links below. So I'm going to close them both up. Okay, so first of all I'm going to run a strip along here and here.  It doesn't matter which one you have stuck behind your front piece. I'm going to flip this piece over and then I'm going to make sure you've got kind of an equal border. I'm just going to stick that one down on top there. Now I just thought you're going to need to die cut another of these small ones. So it's that matte layer, this white one here. So just your smaller square. Die cut that again. I'm just going to die cut it in the same yellow. Okay, so just cut that one and then going to take some more foam, put a strip along the top and the bottom here and I'm just going to lay this one. So it's just got a little frame because it's slightly smaller than the other yellow one there. But now that's just a double slider now. It's just locked in there. You stand on the back if you want to have it. It's just the double. But I now want to add this one on the back. So I'm going to grab two more of my foam strips and this time I'm going to stick them along the side here. Again make sure everything's the right way up and then this one is just going to sit again. So you've got a nice equal frame within that yellow piece. So now you can see how we're going to have our four sections and then you've got your other final piece which will be the same size as the front one and that needs to go on the back. So I'm just going to grab two more foam strips. Just lay one down either side and then you just need to line this one up. I'm going to hold it up just so I can see it a little bit better. So now you can see our quadruple slider. I've then got my stand. So with the stand you just want to fold and burnish all of the score lines. You want to have a tab on the right-hand side here, this small section. You will then have a mountain, a mountain, a valley and then finish with a mountain. So you will have that shape like that. Then you're going to add your glue to the tab there and then just bring that side around. Now you can see it's a nice wide stand so it can take the weight of this card when it's all open. So I like to then attach the side that's joined and use my cloud glue and I attach that side to the card. So it just means then, you know, if anybody does look at the back when it's open, they won't see the join. So you want to make sure that it runs nice and flush with the bottom of that square and it's in the middle. Okay, so that's all secure. So now you can pull just one of each of the sides and it will open up the opposite one. So I just want to finish it off with my decoration. So I've already shaped all of my flowers here and I'm going to have I think I had something like that. I've taken a photo so I'll just have a look at that in a minute but it's going to be something along those lines. So I'm going to have the pink and the yellow and then I've got all these leaves. I'm going to add some Nuvo drops and I may even add a butterfly as well onto the front somewhere. So I've just got my hot glue gun on so I'm going to spend a few minutes just getting that all stuck down. So I've finished the card. I've got the carnation pink. It's one of the crystal drops and you can see I've got a few there and then like a little butterfly trail and then on the flowers can you see how sparkly they are and that's using the Spectrum Noir and it's the crystal clear sparkle pen and then you can see when you pull the sides you have those images and then when you pull this one you have those ones and I've just cut a little section there to stick on the back and it is two and three quarters by three and a half and I can just write a little message there for her. So I hope you've enjoyed this tutorial showing you how to turn the double slider dies into a smoother slider I guess. It's really fun, thoroughly enjoyed making this. So if you have enjoyed today and you're not subscribed to my channel if you'd hit the subscribe button and the notification bell you'll be notified every time I upload a new video also popping up now will be some more fun tutorials that you might want to watch next and as always thank you for watching and I'll be back again very soon. Bye!


Hello friends, myself, Professor S.P. Mankani, Assistant Professor, Department of Mechanical Engineering, Walchand Institute of Technology, Solapur. Today we are going to study the Pelton turbine. At the end of this lecture, students will be able to understand the working principle of turbine. So here, what are the hydraulic machines? Machines which convert hydraulic energy possessed by water into mechanical energy, so which is further converted into an electrical energy. So that is what the machine which converts the hydraulic energy into a mechanical energy. So that we are going to be calling it as a turbines. This is power producing machines. Machine which converts the mechanical energy into a hydraulic energy, that we are going to be calling it as the pumps. It is a power absorbing machines. So now we are going with the what is hydraulic turbine is concerned. Hydraulic turbines converts hydraulic energy of water into a mechanical energy which is further converted into electrical energy. This energy obtained is known as a hydroelectric power which is one of the cheapest form of energy generation. It is even it is called as a clean energy is also concerned. Hydraulic turbines consist of Pelton wheel, Francis and Kaplan turbine. Pelton wheel turbine. So here the actual the Pelton wheel photography were given it here. So on this base this particularly name the turbine name is based on the Pelton an American engineer who developed it in the year 1880. Pelton wheel is a high head turbine. So high head turbine is nothing but we are going to be getting the head supposed to be available head is more than 500 meters. So that time we are going to be using it as a Pelton wheel turbines are concerned. So depending upon the available head we are going to be using different types of the turbines are concerned.  Head is the distance the water falls before it strikes the turbine blades before it strikes the turbine blades. Pelton wheel or a Pelton turbine water strikes the veins along the tangent of the runner and the energy available at the inlet of the turbine is only a kinetic energy. Therefore it is called as a tangential flow type of turbine. So here the Pelton wheel working we are going to be studying here. So here based on this one so this is the casing they are given. So this particular as a casing and this is a water flow is going to be taking place through this one. And here this is particularly the handle they are given it. So here that is a spear rod. This one is a spear rod and this is the handle and wheel for adjustment of this particular rod is concerned. And through this one this we are going to be calling this as a spear. So this is spear and this one is a nozzle. So by adjustment of this particularly the rod we are going to be adjusting the flow rate is concerned. And this is a particularly casing and this one is a shaft on which we are going to be fixing the runner. So this runner is having as a blades here. This runner is having as a blades. So this is actually the blades are of this particular nature. These are the blades are of this particular nature which are joined at the center. If you are observing my hand this is going to be joined here particularly. Water is going to be striking on this particular blade we will discuss the further this one. And whatever the water is going to be falling here then it is going to be a tail rest. So in this particularly the flow of water is tangential to the runner. So it is tangential for impulse turbine because it is a tangential. That is what I am going to be showing this one as suppose to be water is hitting at the center. It is going to be flowing through this particularly tangentially and it is coming out. Flowing through this particularly and it is coming out. So here Pelton runners consist of a single wheel mounted on a horizontal shaft. This is a particularly the horizontal shaft which is going to be mounted this runner. Over this these blades are going to be mounted. So water falls towards the turbine through a pipe called as a penstock flow through the nozzle. Flow through a nozzle means the water is going to be flowing through this particularly nozzle. So this one it is going to be coming and it is going to hit it this particularly the blades are concerned. The high speed jet of water hits the bucket's veins. So these are bucket veins are going to be calling it is going to be hitting through this one. A spear rod which has a spear shaped and end can be moved by a hand wheel. So this end can be moved by this particular hand wheel. So now we have to understand the exact working procedure of this particularly Pelton turbine. So here the water is going to be flowing through this particular pipe penstock. So now this is going to be adjusting this spear. So here so this is going to be adjusted this spear. So by adjustment of this one we are going to be adjusting the hitting of water is concerned. So here the water is available at the head is that water is going to be converted into pressure energy. Pressure energy is going to be converted into velocity energy here that kinetic energy is going to be hitting this particularly blades. When this is going to hit this particular blade this is going to push this blade in this direction. So immediately when it is pushes in this direction the next blade is coming here. So once again the water is going to be hitting on this particular blade and because of that it is going to be pushed. So like this the moment is going to be taken place on this particularly blades and because of that this rotation starts. When the rotation starts here and this particular rotation mechanical energy means here is a hydraulic energy converted into a mechanical energy. And that energy is going to be passed to this particular as a shaft. That energy is going to be passed to this particular because it is the integral part of this one because it is going to be fixed on this particular shaft. And when the shaft rotation starts and it is coupled with a generator and generator starts the production of electricity. And that is the reason we are going to be calling this as a power producing machines. And this casing does not have any role in the energy formation is concerned. Only it protects the water to go outside this particularly cover is concerned. It is just protection purpose they are provided this as a casing. And once the water is going to hitting this blade then that water is going to be flowing through this particularly tail raise. And this particular water is going to be utilized for the irrigation purpose and other purpose are concerned. So here the total purpose of this pattern wheel is to convert the hydraulic energy into a mechanical energy. Here it is a potential energy available in the water storage that is a dam side. And that water they are going to be using passing through this particularly penstock. And by adjustment of this particularly the rod we are going to be maintaining the flow rate. And by that particular flow rate it is going to be hitting this particularly blade where it is conversion of potential energy went into a kinetic energy. And then this momentum is going to be given to this one because of that this rotation is going to be given for this particular runner. Runner is coupled with the shaft and shaft starts rotation means the hydraulic energy is converted into a mechanical energy. So here just one more diagram I have given it for the purpose of understanding previously discussed only this Pelton wheel convert with converting the hydraulic energy into a mechanical energy. Here I have given the additional diagram as this is a dam side where the head is available. This is a gross head we are going to be calling this as a red color indication I given as a gross head that is h is equal to hg minus hf. hf we are going to be considering it as a head loss due to the friction when it is water is going to be flowing. So that time there is a loss of head is going to be taken place that you are going to be indicating as a hf.  So then the water is going to be flowing through this penstock through this one and here this nozzle arrangement is not shown in this figure because it is a this is not a detailed figure of the Pelton turbine is concerned. So here so this is the working principle of this particularly hydral power stations are concerned that is the reason you have taken this as a directly the penstock is connected here. And here there is one more surge tank will be there that also not shown in this figure because that detail you are not expected in this particular study is concerned. So here the water is going to be heating this particular blade and because of that this rotation is going to be taken place the runner is going to be rotated because runner is coupled with the blades and the runner is coupled with once again with the shaft and shaft gives the rotary motions are concerned. This is the net head from this particular point to this particular point because you have deducted this value of the hf is concerned. So here so whatever the parts you have seen here this is a nozzle we are going with one by one nozzle casing runner this thing we are going with a bit detail here. So nozzle it controls the amount of water striking the veins of the runner is concerned casing it it is used to prevent the splashing of water or place no part in the power generation. That is what I have explained here as it does not have any role in power production is concerned it is just a casing it protect the splashing of water is concerned. So runner with bucket this is one of the important part which we have discussed as a runner this particular. So runner is a circular disc on the periphery of which the number of evenly spaced buckets are fixed. So this is what I have shown this is the particularly the way this particularly the buckets it is going to be fixed over the runner. Okay here this is the two joint that is a central it is going to be joined here and this particular bucket is going to be fixed over the runner. So here then the breaking jet to stop the runner in a short time breaking jet is used. So this is actually the part is going to be fixed it is a just the opposite side here opposite side one more nozzle this particularly nozzle is going to be fixed. In emergency case or in any of the thing if you want to stop the immediately the particularly the runner is concerned when it is there as it is a higher speed to stop that one they are going to be using as a breaking jet is concerned. It is just exactly opposite to this one it is going to be hitting backside and because of that it is going to be speed is going to be controlled. Okay the working principle which you have discussed previously the same thing is going to be given here as a the high speed water coming out of the nozzle strikes the splitter which divides the jet into an two equal parts which is what I explained as it is going to be hitting at the center and part of the water is going to be sliding over this one and remaining part is going to be sliding over this means it is going to be splitting the water that is what it is written in this particular last the water hitting that the center. So these streams flow along the inner curve inner curve of the bucket this is what I explained as suppose this is a bucket one side and this is another side it is going to be inner side of the bucket is going to be sliding in this way is concerned. The high pressure water can be obtained from any water any water body situated at some height or a stream water flowing down the hill this nothing but a dam side we are explaining this particular line is related to the dam side is concerned. The change of momentum is very important the change of momentum direction as well as the speed of the water stream produces an impulse on the blades of the wheels of a of a Pelton turbine this impulse generations this impulse generate the torque and the rotation in the shaft of the Pelton turbine. So this is one of the important bit you are going to be exactly how the power is going to be generated.


We are here at the World Telecommunication Development Conference 2014 in Dubai in the United Arab Emirates and I have got the great pleasure of being with Mr Parouk van Persie who is Director-General of the National Communications Authority of Ghana. Mr Van Persie, thank you very much indeed for being with us today. Thank you for having me. I would like to start off by talking about the conference here that we are at, the World Telecommunication Development Conference once every four years is a very important conference. We are now in the second week of it and pretty much coming up towards the end what has stood out from this conference for you. Well, thanks very much Max. Surely this has been a very good conference and I must begin by thanking the host country, the United Arab Emirates for putting together such a wonderful conference, the facilities put at our disposal are excellent and also of course the ITU for all the organizational work that has come into it. From my end, from what I said, this is a very first for me, been only three years in the job so this is my very first WTDC. And I must say that of course the preparatory work leading up to it is all what is culminated in the success that we are having today. I had the privilege of chairing the Africa Meeting or the RPM with the final being in Lusaka and that obviously prepared Africa quite readily for making the contributions that we have made at this event. So far the highlights, of course we are all seeing the trend of telecommunications in the world today, where we are headed, broadband, obviously the theme for this conference is very apt and that broadband is the next agenda. In my country we have reached our bounds in voice penetration, probably around 110 percent of voice penetration now. Our next challenge is data and how we grow data. We have done remarkably well over the last couple of years. Five years ago you could talk data penetration of below five percent. Today we are talking something in the region of 25, 30 percent and that's been enabled by the handheld devices, the advent of 3G. So broadband growth in Ghana is very promising. In the last couple of years also we have licensed three operators in BWA, Broadband Wireless Access, to provide 4G services and we think that that's all going to help grow the broadband industry in Ghana tremendously. So there's some great opportunities there in Ghana. What are the particular challenges that you're facing? Well the challenges continue to be infrastructure, power and that's what most of the operators complain about. But thankfully the government is doing quite a bit about that and we expect to have stable power in the coming years. There's also the cost of infrastructure and of course being where we are now and being late and transient to it. We're turning to depend more on wireless than fibre of course because the reach and the timeliness of it is better than getting through the issues of our fibre. So those remain some challenges but the challenges that are not unsurmountable. We are doing well and with the cooperation of the operators to get beyond all of these difficulties and we think that so far we are so good. And what do you hope will come from this conference? Well obviously this will set the agenda for the next four years and Africa intends to play within that scope very forcefully and like I have identified our challenge mainly is in the area of data now and we expect that we can grow that successfully over the years. My own country has done its fair bit in that regard and in the last couple of years we've seen growth rates which are quite impressive and obviously the enabling environment that has been provided by government in providing infrastructure in collaboration with the operators. We've done the submarine fibre links around the country and all of that we expect to push a broadband delivery further. We've also obviously put some assistance from that to our neighbouring land-lord countries who don't have submarine cable landers and we're transmitting fibre all the way to the border so they can also tap into that. Well thank you so much Mr Van Persie for being with us today and I wish you all the very best in terms of connectivity for Ghana and for the future. Thank you very much, thank you. And thank you for watching too.