It is about bringing people together to both heal trauma and solve poverty through resilience. it’s a state conference probably going to hear more conversations around redesign. Even if they’ve been …
It is about bringing people together to both heal trauma and solve poverty through resilience. it’s a state conference probably going to hear more conversations around redesign. Even if they’ve been …
It is about bringing people together to both heal trauma and solve poverty through resilience. it’s a state conference probably going to hear more conversations around redesign. Even if they’ve been to conferences to bridging in April and they come to moving the needle in November they always experience deeper learning. people need to be energized when we don’t have clear answers we often revert back to Old behaviors because we don’t we haven’t had time to fine-tune the paradigms in the practices and policies and all of the culture that we need to go with that. the work of implementing sustaining and creating true trauma resilience informed schools and communities is a long process We’re really shifting culture, we’re shifting paradigms, about the way that we see kids see each other see our own lives and how that lives out by changing practice and policy. This is going to take all of us to get it done.
Hi, I’m Julie from Cocoknits and in this video I am going to show you my little trick for buttonholes. This is a buttonhole that I do when I’m doing a …
Hi, I’m Julie from Cocoknits and in this video I am going to show you my little trick for buttonholes. This is a buttonhole that I do when I’m doing a 1×1 rib, and I’ll also show it to you with 2×2 rib. And here’s why I like it so much. If you look at this 1×1 rib it’s hard to even see where those buttonholes have been worked If you look at the back side, you can see them, and the more you use them, the more apparent they’re going to become. But they tend to… if you don’t button your cardigan, they tend to stay pretty nice and small. So that’s why I like them. I think they’re really a nice neat buttonhole. So to do this It’s a two row buttonhole and what you’re going to do is … I’m just going to do a second layer of buttonholes. and what you’re going to do you always work the buttonhole on a purl stitch on the right side. So you’re going to start the buttonhole one stitch before your purl. It’s going to be your buttonhole. You can actually mark this stitch if you want to, and you can go ahead and mark all the buttonholes you’re going to make all the way up. I’m just going to do it on this one. So there’s my buttonhole stitch right there. The stitch before, you’re going to knit one front and back into the knit stitch. Next, you’re going to purl, and then you’re going to take that little extra stitch you just made by knitting into the back of that knit stitch, and that you’re going to pull over. That is what you’re going to use as your bind-off. Now immediately slip that new stitch over to your left needle and knit it together with your next knit stitch. And now you’ve got two knit stitches next to each other and that hole there is where your buttonhole is going to be. So again … You’re going to knit one front and back. Purl your actual bind-off stitch. Pull that little extra stitch over to bind it off. Slip it immediately over to your left needle and knit it together with your first knit stitch. That is how you’re going to work each bind-off… or each buttonhole, sorry. And then when you come back to those stitches, on the next wrong side row — and you do want to work this on a right side row. On the wrong side row when you come to those gaps you are just going to backwards loop cast one on where you have that space. And that is it. Here’s my gap. I’m just going to backwards loop cast-on one stitch. Stay in pattern. Backwards loop cast-on, in place of that it would be a knit on the wrong side. Carry on in pattern. And that’s it. That is how you work that. That little knitting one front and back into the stitch before is the same trick that I use when I’m doing neck lines to bind-off. You can see already how invisible those are. There’s one there… and one there… But they’re pretty invisible. So that’s it. So then I’ll show you if you’re doing a knit 2 purl 2 rib you can do a two stitch buttonhole in the same way, and I’ll show you that. That was the 1×1 rib, and now I’m going to show how if you’re working a 2×2 rib, how you can use this same method. So here you can see it’s a little more evident because these are two stitch buttonholes. But it leaves that row of knit stitches in tact and the buttonholes take place within that purl ridge, and that’s why they stay pretty neat. So to work it, it’s exactly the same idea It’s just you’re going to bind-off one more stitch. And again you’re going to work it The stitch before — these are the purl stitches I’m going to use for the button hole. So in the knit before, I’m going to knit one front and back, purl my first of my bind-off stitches, pull the little extra stitch over as the first bound off stitch, purl one more and pull it over, and that’s the stitch you’re going to slip to your left needle and knit it together with your knit stitch there. And again you can kind of manipulate it so that it neatens it up. So the difference on this one is… Well maybe I’ll do one more for you… So again knit one front and back, purl your first bind-off stitch, pull that extra stitch over, bind-off one more purl-wise slip the resulting stitch over to your left needle, knit it together, and carry on. So when I cast on the stitch over those gaps, rather than casting on two, I use the same trick that I use when I’m casting-on for underarms I cast-on only one and then… when I come back to that stitch on the next pass I’m going to pick-up to pick up that slack Here I go again… I’m only going to cast-on one of the two stitches. And carry on. And when I come back to it, that’s when I’m going to pick up that extra slack, and make the second stitch that I need. Here is where I cast-on. This tends to happen when you use backwards loop cast-on. So rather than fight it, I’m just going to go with it. I’ve got the slack I’m going to use it. Come from behind with your left needle and then purl into its front. — It’s always a little tricky — And that takes up that extra slack, and now you’ve got both of your stitches. And that just again aids in keeping that a little bit neater. So again, when you come to the spot where you cast-on one come from behind with your left needle and purl into the front of that stitch, and that will take up that extra slack, and keep the buttonhole neater. So there you go. This is what it’s going to look like and that is how and that is how I use this buttonhole method for a 2×2 rib
Let’s find the Red Thread in a TED Talk. I like finding Red Threads in talks because often times the Red Thread, the presence of the Red Thread is the difference …
Let’s find the Red Thread in a TED Talk. I like finding Red
Threads in talks because often times the Red Thread,
the presence of the Red Thread is the difference between a
good talk and a great one. In this case let’s take
a look a Brian Little’s recent TED Talk, “Who Are You Really? The Puzzle of Personality.” Brian wrote a book that
the puzzle personality is a bit of an excerpt from, it’s
called “Me, Myself and I: The Science of Personality.” Read it, loved it, which
is one of the reasons why I found his talk in the first place. But here’s what I want you to do. I want you to go watch the
talk or go read the talk in the transcripts,
and see if you can find the elements of the Red Thread. Because what you’ll
see is that four of the five elements are there
and they’re in the order that I suggested they always go. In other words there is,
early, a statement of what this talk is about, what
the goal of the audience is that he’s trying to help achieve. Second, what is the underlying problem that’s getting in the way
of us achieving that goal? Third, a new idea, a core piece
of information in this case that is something that we can’t unhear and that changes our understanding of the world as we saw
it, and explains why the problem is such a problem. It also helps dictate the
change that he’s asking for, a high level change that
he’s asking people to make. Now consistent with a lot
of TED Talks, there isn’t a detailed explanation of the fifth piece which are additional actions you can take. Mostly because it’s time-bound
and really what he’s doing is introducing this new idea up front, which means he wisely
decided to use his time making the case for that
rather than in giving you the how-to instructions to
put the change in place. So go watch the talk, come
back, or go pretend that you did and we’ll break it down. (lively music) Now I said up front he does
include a statement of the goal and you can find it one minute in. He says, “And what we
try to do in our own way “is to make sense of how
each of us, each of you, “is in certain respects
like all other people, “like some other people,
and like no other person.” In other words, the goal of the audience that he is trying to help achieve is helping us answer this question of how can we make sense of how we are either like people or not like people around us? He goes on and tells some other stories, he gives a wonderful acronym
for thinking through the reliable basis of
understanding personality. And then a third of the
way through the talk, it’s good timing based on the fact that this is a 15-minute talk,
so about five minutes six minutes in, he states the
real problem as he sees it. “So here are the consequences,” he says, “that are really quite intriguing. “We’re not always what we seem to be.” In other words we have this
goal, we want to see how are we like or not like other people. He’s introduced a framework
that helps us understand what the basis of being like
or not like other people is, and then he introduces something
that we may not realize, that’s getting in the way of our goal. The fact that we’re not
always who we appear to be to other people, or we’re
not always consistent. He goes through and explains
that a little bit more, he tells a very funny story about Charles which I recommend you go watch. Then just about three-quarters
of the way through he introduces a one-two punch of an idea followed by the change. So now that we’ve got this problem, we’re not always who we seem to be, he introduces a new concept of
something called free traits. And he summarizes that
section of the talk, in other words the
second third of the talk, with the idea statement
which reads this way: “What are these free traits? “They’re where we enact a
script in order to advance “a core project in our lives,
and they are what matters.” In other words, he’s
saying right in the middle of that talk, two-thirds of
the way through the talk, one third articulating
the problem, one third articulating this new idea that the thing that we have
to understand in order to solve a problem is that
even though we’re not who we always appear to be,
there is an answer to that. It’s something called free traits. In other words, there are
certain things about us that are set in stone, but situationally other things change and
those are the free traits. Right after he introduces the idea, he introduces the change. He says, “Don’t ask people
what type they are,” what kind of person, what
personality they are, “Ask them,’What are your
core projects in your life?'” And he uses that to start
this final discussion of what are these core projects, how do they reveal these free traits? And ultimately he’s giving us the solution to achieving our goal. If we ask people this
question, what are the core projects in your life? We start to get a sense
of how are they like us, not like us, and
ultimately as he promises, we get a better sense of ourselves. So that’s Brian Little’s Red Thread. Did you find it? (lively music)
Hi everyone in this session, we’ll be talking about the end of threads and program termination. It’s a topic we’re coming back to because we’ve already mentioned it in other sessions. …
Hi everyone in this session, we’ll be talking about the end of threads and program termination. It’s a topic we’re coming back to because we’ve already mentioned it in other sessions. When the end of run method has been reached, a thread ends and it’s automatic. However, there are other types of termination. I’ve spoken of termination by exception, especially if exception goes back up to the run method, as a run doesn’t know how to generate exceptions, it’s the famous specifierCatch. We don’t specify which means we can’t catch it. There are other ways. You might want to force a thread to terminate at a specific moment, for example because the algorithm has finished and no longer needs the threads that contributed to the computation. I gave you the complete cycle of a thread in a previous session but I had left out a small thing which is here: it’s the fact that you can execute a method called stop and this method causes the thread to terminate. This method is considered to be depreciated, it still exists but is considered in the literature to be depreciated and if you see those sorts of things, you just look like the village idiot, as my sons would say… The right way to do this is to use a method called interrupt that will send an interruption to the task. The advantage here is that you can launch this interrupt method from anywhere, there’s no problem finding the corresponding thread – although if I’m not mistaken, stop is also a class method and not an instance method – and it’s the interruption that will cause the thread to terminate. We’re not going to go into the detail of this mechanism in this session because it’s a little complicated, but the idea is that this is how we proceed generally. Let’s look at things using a simple example. Here is a class implementing the Runnable interface, no problem so far. The constructor is here and what is the class doing or rather what are these class objects doing? It’s simply looping on “hi there” and then it’s interrupted for 1000 milliseconds, or 1 second. Just for information, and to see what’s happening here, we’re catching all the exceptions here that could be thrown. We’re just displaying a message, we can’t do anything else, we could put it in while for example, and that would relaunch the execution but we’re just showing the exception. You can see here that the main program creates two threads, creates two processes, it creates both threads and processes and it launches both. It launches an interruption against tr1, so tr1 ends as a result and says “I’ve killed everyone’. Let’s launch the execution of this program. Here, the system says “I’ve killed everyone’. TR1 has the time to say “hi there” that’s the de-sequencing of displays, no particular problem there, TR2 says ‘hi there” At one moment, TR1 retrieves the interruption and you can see that the trace of the interruption has been caught by the catch handler associated with try in the run method. Then we carry on looping on TR2 TR2 TR2 TR2… What does this show? First, it shows that only the thread which has been interrupted is dead, and we can clearly see termination by interruption, it’s a great illustration. We can also observe that the program has to be terminated by hand. I’ve done Ctrl C here because the program hasn’t ended and that’s because the main thread, the thread that’s executed, the main class if you like, it’s ended because the thread has ended its execution. The thread that’s been killed, it ended when it was killed via interrupt, but the third thread continues to run and isn’t going to stop. That means my program hasn’t ended, we already mentioned that, it’s not ended because there is a thread still running. So I need to kill the program, so here Ctrl C has strictly nothing to do with Java, we’re using the UNIX system and killing the process at the UNIX level. And from then onwards nothing else happens as regards execution. Of course, there’s always this thought on entry/exit that could create delays, these delays are also explained by the way in which this interruption is taken into account, which doesn’t happen at any old time. We might come back to that in another session. To conclude, be careful with program termination. Let me insist: to end a program, all flows must have ended, therefore all threads must have ended, if one thread is still running, well it’s running, which means the program hasn’t ended. It’s a general rule that when you have a multi-process or multi-threaded program or multi-process AND multi-threaded, it’s the same thing. In ADA, to come back to a situation like Java, with a programming language, if we have several tasks and the key word is task, the program continues to run, even in Erlang and everywhere. I mean that a concurrent program only ends when all the execution flows have ended. I’ll end by saying that it’s a knotty problem in concurrent programs. There are two complicated stages in concurrent programs. One is setting up the topology of threads or processes, the execution flows that are to interact. The second difficulty is to decide when you need to terminate. We’ll discover part of what lies behind these problems, especially in distributed mode. When you have really de-sequenced messages, and the fact that these messages can be lost, it’s a real nightmare for our poor smiley alien who prefers to drink it because it’s really hard to write the programs – it’s the complicated bit of writing concurrent applications Thanks for watching, see you soon.
MIT engineers have developed a way to store medical information under the skin. Every year, a lack of vaccination leads to about 1.5 million preventable deaths, primarily in developing nations. One …
MIT engineers have developed a way to store
medical information under the skin. Every year, a lack of vaccination leads to
about 1.5 million preventable deaths, primarily in developing nations. One factor that makes vaccination campaigns
in those nations more difficult is that there is little infrastructure for storing medical
records, so there’s often no easy way to determine who needs a particular vaccine. MIT researchers have now developed a novel
way to record a patient’s vaccination history: storing the data in a pattern of dye, invisible
to the naked eye, that is delivered under the skin at the same time as the vaccine. In areas where paper vaccination cards are
often lost or do not exist at all, and electronic databases are unheard of, this technology
could enable the rapid and anonymous detection of patient vaccination history to ensure that
every child is vaccinated. The researchers showed that their new dye,
which consists of nanocrystals called quantum dots, can remain for at least five years under
the skin, where it emits near-infrared light that can be detected by a specially equipped
smartphone. Several years ago, the MIT team set out to
devise a method for recording vaccination information in a way that doesn’t require
a centralized database or other infrastructure. Many vaccines, such as the vaccine for measles,
mumps, and rubella (MMR), require multiple doses spaced out at certain intervals; without
accurate records, children may not receive all of the necessary doses. In order to be protected against most pathogens,
one needs multiple vaccinations. In some areas in the developing world, it
can be very challenging to do this, as there is a lack of data about who has been vaccinated
and whether they need additional shots or not. To create an “on-patient,” decentralized
medical record, the researchers developed a new type of copper-based quantum dots, which
emit light in the near-infrared spectrum. The dots are only about 4 nanometers in diameter,
but they are encapsulated in biocompatible microparticles that form spheres about 20
microns in diameter. This encapsulation allows the dye to remain
in place, under the skin, after being injected. The researchers designed their dye to be delivered
by a microneedle patch rather than a traditional syringe and needle. Such patches are now being developed to deliver
vaccines for measles, rubella, and other diseases, and the researchers showed that their dye
could be easily incorporated into these patches. The microneedles used in this study are made
from a mixture of dissolvable sugar and a polymer called PVA, as well as the quantum-dot
dye and the vaccine. When the patch is applied to the skin, the
microneedles, which are 1.5 millimeters long, partially dissolve, releasing their payload
within about two minutes. By selectively loading microparticles into
microneedles, the patches deliver a pattern in the skin that is invisible to the naked
eye but can be scanned with a smartphone that has the infrared filter removed. The patch can be customized to imprint different
patterns that correspond to the type of vaccine delivered. It’s possible someday that this ‘invisible’
approach could create new possibilities for data storage, biosensing, and vaccine applications
that could improve how medical care is provided, particularly in the developing world.
Hey, everyone welcome to the Hobby Lobby Creative Studio i’m Sarah. Well have you been avoiding knitting patterns because they just look too confusing? We’re here to help you out today …
Hey, everyone welcome to the Hobby Lobby Creative Studio i’m Sarah. Well have you been avoiding knitting patterns
because they just look too confusing? We’re here to help you out today and give
you all the information you need to know to be able to read these patterns. So hang tight and I’ll be right back to get
you started. (Music) So if you’re looking at a knitting
pattern for the first time it look a little intimidating. We’re going to go over all the
different sections that you would typically see on knitting pattern, in order for you to understand what it
is you’re looking at. The first thing you might notice, is a skill or difficulty level. These can
range from beginner to expert. so if you’re looking for pattern as a
beginner, you definitely want to pick out a pattern that at a beginner skill level. not far down you’ll see a section called
the glossary. The glossary contains a list of
abbreviations that represent actions or descriptions pertaining to a particular
pattern. Along with the full word these
abbreviations stand for. When you’re looking at the lines have
your pattern, you’ll notice this is where your abbreviations are. Abbreviations are used: simply to
make the pattern shorter in length. and what I would suggest doing as a
beginner is actually go through your pattern line by line and look at the abbreviations and
actually write out the full word that that abbreviation stands for above those abbreviations. Then
practice reading through each one of those lines you know just saying the full word out.
Then you’ll start associate the abbreviation with the full word. and pretty soon you’ll just be reading
through those lines have your pattern just like it was second nature you won’t
even have to think twice about it. I can do it like this I look at my
pattern I say okay “CO” well “CO”, for cast on. You right above
that abbreviation “K” stands for knit. “BO” stands for
bind of. Just practice doing it that way and
you’ll get it before too long. Also go ahead and take a look at the
printable that will have available along with this tutorial. It will have a great list general
knitting abbreviations on it, that you can start to study with and refer back to you whenever you need
to. So that we know what abbreviations are for and how they’re used let’s do an example using some of them. Here’s a row that you might see a
knitting pattern. This group of instructions tells us with number seven needle CO 12 STS work cue rose and she ft booo until once it remaining on needle so
let’s refer back now to our glossary of abbreviations and spell that out so this and says with a number seven
needle cast on 12 stitches work to roseanne
garter stitch bind off until there is one stitch
remaining on the needle and it’s as simple as that maybe not as
confusing as you thought right next you might see a finished size or
measurement section this section indicates the finished size
that you are needed he should be so it’s a great way to make sure that
you’re on the right track whenever you’re knitting next you might see a section called
materials or supplies this will tell you everything you need
to have in order to complete that project such as the type and amount yarn you
need what size needles they suggest you seen and any additional items that may be
required finisher peace like a pair finishing needles perhaps
next you might see a section called gauge gauges the measure the number of
stitches per inch the actual number of stitches per inch
affects the final size and the drape if your project as well so typically a gauge swatch is a four
inch by 4 inch knitted area that you a test before
needing your actual project editing its a little bit differently
some people net looser or tighter than others so you have to make sure that you’re in
it in style matches the recommended gauge that that writer has indicated for
that particular pattern so here’s what a gauge looks like so it’s a four inch by 4 inch netted
area that you’ve needed using the recommended
needle size that the writer has indicated for that particular pattern so after you’ve needed this what she
would do is grab your ruler and just place it on here and without
stretching this piece out you would measure how many stitches you
have in between that one inch area so after you’ve got
that count you compare that to you the recommended gauge if your pattern if you have fewer stitches than the
recommended in that one-inch area you would need to you go down a needle size so that you could
fit more stitches in that one in space animal flip side
that if you had too many stitches in that one inch area you would need to go up a needle size to
make your stitches larger so that you would have less stitches in
that one inch area so you’ll often see a sentence on your
pattern right under that gauge that says or size needed to obtain gauge that just
means that the writer the pattern wants you to find whatever
size needle it’s gonna take to complement your style admitting in
order to obtain that gauge that they’ve recommended because this is really gonna affect the
final size and drape up your project it’s really tempting to
skip this step making a gauge swatch and just dive
straight into your knitting project but it will be a lot better have time to
find out that you should have used a different size needle then when you’re putting your sweater on
and it doesn’t fit so it’s very important to always make
that gauge swatch now the last section you might see on a
knitted pattern is a Finnish sheen or assembly and finishing section the
fiction section contains instructions and information for you use near the end of your project
so it might indicate where to put a decorative items such as at Pandora
button or it might indicate how to join scenes
together at that point so anything that you would find in the
finish in Section is just helping you put that extra finished
polished look on whatever project that you’re working
on well that’s it for today everybody I hope you learned a lot useful
information that will help you whenever you’re reading through your patterns and
your abbreviations thanks for stopping by everybody will
see you next time
hi there it’s Bridget O’Flaherty with Thread painted art wanting to connect with you guys to let you know about what a solution I came up with for storing my fabric. …
hi there it’s Bridget O’Flaherty with Thread
painted art wanting to connect with you guys to let you know about what a
solution I came up with for storing my fabric. I put a shout out a few weeks ago
looking for ideas on how you set up your sewing rooms and how you deal with your
fabric yardage and got a lot of great feedback and great ideas for that. Thank
you for anybody who contributed, I really appreciate it and ended up deciding on
cardboard. So a lot of people are suggesting the comic book boards and I
have a lot of cardboard in my life, so I cut up cardboard boxes to the size that
I want. I’ve got sort of medium size where most of my yardage will probably
go on this size So it’s about a 6 by 7, 5×7 piece and then I got little pieces for my little pieces of fabric in my life which I seem to have a lot of as
well and then I have some slightly larger boards for some of my yardage. The other thing that I did was I decided to use a label maker because I’m a little
bit nerdy like that and I like to be really organized, so I have in here
labels for the different types of fabrics that I got with my hand dyes,
then I got my Indigo’s, I know what what type of dye method I used and what kind of dyeing stuff I used. Whether it was
avocado or pomegranate, madder any of the.. whatever the dye is that I ended up
using I know what I’ve used and I know the kind of fabric that I used it on and in
the other fabrics that I have, I’ve actually measured and ironed
because I like ironing and put all of that information into each of these
labels. So it’s going to take me a while as you can see I’ve got lots of fabric
here so I’ve still got a ways to go, but I’m excited that I’m going to get organized
and if you’ve got sewing room shots that you want to show me I’d love to see them
down in the comments. Feel free to show me your stuff but in the way that you
organized your a sewing room. Thanks very much and I’m going to keep on folding!
I don’t like that there’s a bit of a twist.>>What‽ How am I bleeding? >>YOU!! How did that happen?>>I don’t even know how that happened!>>You cut yourself on the PVC pipe! …
I don’t like that there’s a bit of a twist.>>What‽ How am I bleeding?
>>YOU!! How did that happen?>>I don’t even know how that happened!>>You cut yourself on the PVC pipe! [deep synthetic rumble] [electrical pop]
[gentle vinyl static] [rising chime]
Jason Murphy, just answer me this, is this
your own invention?>>Eh, yeah.>>I mean, technically
it’s the same idea as the,
what was it called, the hot shot–
the pocket shot or whatever that we did? [metallic plink] BRIAN: Yeah!
>>KATELYN: Ooh!>>Yeah, there’s not
a lot of ingenuity to it. I just thought,
you know what? How can we make that
even more evil?>>This is taking all the most
dangerous elements we’ve had before. The danger of all the times that we’ve used slingshots,
whether with ninja stars or with BB shot. [music] [slowed slingshot sound] [foam tumbles and crashes] [foam hits floor]>>And now with giant needles!
Okay.>>It’s a simple build,
I don’t know if it’s going to work but man,
I want to try!>>Okay let’s go, let’s go!>>What I’m going to do,
we’re just disassembling– taking the sling
part of the slingshot, right?>>Yeah.
>>Taking that off.>>I’m going to bet
that you can use I guess, surgical tubing, you could probably use even balloons
or rubber bands for this.>>Yeah.>>BRIAN: We’ve got latex gloves. We’ve got barbecue skewers,
we’ve got soda cans. [slowed snap and pop]>>And then we’re going to take
this little metal clasp…>>BRIAN: I figure we are going to–>>JASON: Oh! You want the metal cinch
really tight. You can only draw it back
this far, right?>>BRIAN: I am going to hold this here.
>>Okay.>>See how hard it is
to pull it one length back.>>Don’t let go.>>No, you don’t let it go
and don’t let it hit me. Does that seem right?
Is there any chance that you would pull this back
and it would like, I don’t know, slip, and smack your face? I guess… any time you have
a rubber-based tension device you run the risk of it snapping
and hitting stuff>>Yeah, absolutely. And you want to
make sure that you get that really, really tight.
>>Yeah.>>Because when I was doing
a few test pulls it came back and
snapped me in the chest.>>Oh really?
>>Yeah. But I didn’t have it
nearly tight enough, like, not even for a moment.
>>[with sarcasm] This is very encouraging.>>It’s going to be fine!>>This is on like that.>>Yeah!>>Oof.
[nonverbal mumbling]>>We should absolutely have protection on.>>Also, this is not
sufficient eye protection I’m going to rely on
the fact that I have goggles and…
and glasses.>>Also probably not
sufficient eye protection. [vinyl crackling] We’re going to go ahead
and put a secondary clasp on here just in case.
>>Redundancy. Smart.>>And that still doesn’t protect us
if say, the… thing tears or whatever, yeah.
>>Rubber snaps, yeah. Okay, so that’s double locked on there.
>>Yeah.>>BRIAN: I feel not so bad about it.
>>Okay! Do you want to give it the first shot?
>>[with trepidation] I guess.>>Just launch it out into the field?
>>Yeah. So here, we’ll take this dull one.
>>Okay.>>Oh my goodness… [sinister laughter]>>I don’t like that there’s a bit of a twist in it.
>>[distracted] What‽ How am I bleeding?
>>[something between “you” and “no”] How did that happen‽
>>I don’t even know how that happened!>>You cut yourself on the PVC pipe! ♪ [bass beat, club music]
[echoing] Roll it back! ♪ Da-da da da da da da ♪>>When did that happen?
[dance beat continues] ♪ You got cut by plastic! ♪
[music fades out] [amused] Yeah you definitely–
you got a paper cut on this. [laughter] You load it like a mortar.
♪ [music picks up]>>>BOTH: Loaded!>>BRIAN: We got one loaded.
>>Yep! All right, here we go.
We are live. Fire in the hole. Three, two… [launch snap] That landed behind us.
That’s probably not good.>>No, it was right over here. [slowed launch snap] [music continues]>>BRIAN: Where?
>>JASON: It hit the tree
and then landed over here.>>Yeah.
I don’t like that it hit the tree. [laughter] Oh you did find it. Two things about this. One, it is awkward that you have to have
your aiming hand work counter to your force-pulling hand [Jason affirms]
and is sort of akimbo
and flying all around. I feel like the perfect version of this
would have something to rest in here, but I’d be kind of like pulling back
and then firing, and I’d have more stability.>>Okay.
>>But I don’t know for our improvised scenario that that would be much of an option So I can feel it
on my belly here. I’m going to–
get that on there, okay. And now… very far away,
I–what, straight up?>>JASON: Sure!
>>BRIAN: Three, two, one. [launch snap] [laughter] It looks exactly like when
Superman throws the crystal from planet Krypton.
>>Does it just–>>It just tumbles
end over end. So, I’m going to bet that there’s a reason
arrows have those feathers on them and that it’s never going to fly
true over long distance.>>Fletching is a real thing.
>>Yeah.>>They’re not just decorative!>>Right.
>>I could have sworn– [vhs ejection]>>BRIAN: All right,
so we got duct tape on here. We’ll see if this does anything.>>Looks a little janky,
but the whole thing is.>>I don’t even know if it’s going to
slide down like that. [Brian stammers] See, I’m afraid I’m just going to
pinch and ruin the fletching now.>>JASON: Maybe.
>>BRIAN: Okay, here I go. Weapon is live. Three, two… [launch snap] It flew straightish.>>Straightish, yeah.
Which is–>>It didn’t tumble end over end.
>>Yeah, that’s an improvement.>>We’ll see if,
for the first time we can get the right side of the weapon to hit. Three, two, one. [slow launch snap]
♪ [music] [high-pitched] Eh?>>Better!
That’s an improvement.
>>Better, better! Part of the problem is I don’t think
we’re getting enough forward momentum because we can’t pull it back far enough.
>>Yeah.>>I guess we could
move this forward and have it be
even tighter at the bottom but I’d prefer to be
farther back.>>Longer, yeah.
>>Yeah.>>So, we found this
curtain rod floating around inside.>>I like it! Cannibalizing things around the house
to make them… dangerous!>>Do you want to try
just firing just this without any pointy bits at the end?>>Let’s try it!
>>Okay. All right.>>What could go wrong?>>[laughing] Welcome to our channel.>>Here we go.>>JASON: Got it? Okay!>>BRIAN: Oh my god. Three, two, one. [slow launch snap] It still,
it just flops sideways!>>Yeah.
>>Okay and I honestly feel like for us to go any farther back,
we really risk this thing flying back into our face. It’s not like a slingshot
where you have something that you’re able to brace yourself. This thing is the thing
that sliced your hand, now imagine it coming at your face!>>So you’re saying, my weapon making skills need work. [with indignation] That’s okay!>>I’m saying,
we need to turn to the real experts, the audience
for their suggestions on this.>>Mm, okay.
>>I think we’re almost on to something, but just the unwieldiness… I’m going to say “Yes,”
to a last ditch prison weapon, pretty much “No,” to anything else, right?>>[with disappointment] Yeah. — CC BY BIZARRE MAGIC — All right.
Back to the drawing board. Back to my Wile E. Coyote Pinterest board of murder.
[Brian cackles]>>I want that to be our real Pinterest board! Wile E. Coyote
Pinterest board of murder!>>I’m going to start it!
[Jason laughs] See, this is more effective.>>Nope, nope!
– Hi, my name’s Greg Kitson, from Minds Eye Graphics in Decatur, Indiana. I’ve been in the industry since 1974 when I started putting heat transfers on t-shirts. Started embroidering, excuse …
– Hi, my name’s Greg Kitson, from Minds Eye Graphics
in Decatur, Indiana. I’ve been in the
industry since 1974 when I started putting
heat transfers on t-shirts. Started embroidering, excuse me, started screen printing in 1980, embroidering in 1990. Oh, that’s easy,
number one thing that I want to tell people to do is make sure they have
fun doing what they do. If they’re an artist, make sure they
concentrate on art work. If they’re a problem solver, make sure they work on that. If they like the
mechanical ability of decorating with screen
printing or embroidery, make sure that
they’re doing that. For me, I get the
greatest satisfaction out of turning a pile of
blank shirts into a check. That’s what really turns me on. One of the biggest challenges for somebody that wants
to grow their business is, all of a sudden, the
business is controlling them, instead of the other way around. With a smaller business, when they’re doing manual, whether it’s screen
printing, or embroidery, or DTG, and you’ve only got
a few shirts to get out, one person can do everything, and you can multitask
and get it all done. As you start to grow, and you accept larger orders, that ratio of time
responsibility changes, and, all of a sudden,
you have to have an additional person that cares as much about the
product as you do. Now, one of the best reason to buy an automatic
screen printing press or buy a larger
embroidery operation, go to two head or four, or go to two, four, or six heads is to avoid having to hire
that additional person. But that only goes for so long. At some point, you
have to be able to share the passion. You have to be able
to get somebody that will work the
same way you do, that you can
communicate easily with, so you can concentrate on
doing what you enjoy doing. Yeah, managing
employees is the least desirable thing that
I do in my business. Sharing the passion
is really tough to do. The best employees
that I’ve ever got have all been on recommendations of people that I know and trust. Somebody that I’m a friend with, or have a family
relationship with, somebody who’s got kids that do the same
thing that my kids do, that sort of thing, rather than putting an ad up. Never really been
lucky with Craigslist or in the olden days, in putting something in
the local classified ads. All of our best employees
have come from recommendations of people that knew me
and knew our business. Oh, one of the biggest mistakes that most shop owners make is they try to grow too fast, and they try to do things that they’re not
comfortable doing. They get away from
their core competencies. Somebody will come
in and offer them the seduction of fast
money doing something, and they go, sure,
we’ll do that, and, all of a sudden,
they’re doing something that isn’t what they
started out to do. And they realize, the
majority of our industry, especially with screen printing, as you grow, it’s all
about the logistics and the data management, much more than it is
about the decoration. I was just talking to
my wife last night, as I was getting ready
to come out here, that there was some
beautiful artwork that had been done
by some people that was put up on Facebook, and I lamented that
we hadn’t been able to print anything like that because our customers weren’t
willing to pay for it. We’ve gotten away from
what we use to be good at which was really good
pure photo process. And, now, we haven’t
done any of that to the point I’m not sure
my equipment would do it because we haven’t maintained it to be able to do that. Owners’ ability to listen probably has more to do
with it than anything. If a customer comes in and says I want this, this, and this, if the owner or the
screen print manager starts saying we’re gonna do it this way, this way,
this way, this way, they’re not listening
to the customer. So you don’t really
develop top notch work. So, if the staff, and the owner, and the management
listen to their customer, I’m gonna say that’s probably the biggest tell-tale for having good product go out the door. Easy, and that’s not a
very good word to use. What I’m gonna say
is the best way to develop your business
and grow your business is to do some
demographic research. Look at what you do
that you do well, that your core competencies are. Are you doing personalization, and numbering, and teams, and fulfillment, and
you’re doing that well? If so, there are lots
of other customers that would want to
have those services, but it’s very competitive. If you’ve got something
else where you’ve developed your own program and
you own the market, you’re probably better off. So, if you would go
out and use the example of somebody who’s core business is a combination of screen
printing and embroidery, and they sell a lot to
small medical offices. So a small medical
office is usually identified by a couple
of professionals, a half a dozen
semi-professionals, or skilled people, nurses,
veterinary assistants, dental hygienists,
those types of things, and then a half a
dozen office people. If you got that figured out, there are lots of
other companies that have that some
organizational scale where they’ve got a
couple of professionals. So, if you’re good
at doing something for dentists, and
doctor’s office, and veterinarians that
work with and on animals, you can probably
do the same thing for physical therapists. Where somebody goes
out and has an injury and goes to a physical
therapy facility for rehab. A couple of physical therapist
that have got license, several skilled
professionals that help them, and some office people. So if you can identify
other industries that have the same
demographic characteristics, that’s an easy way to
grow your business, and you’re not fighting
every other printer for that business, and you’re not taking it
away from somebody else. Oh, the biggest bottleneck, I’m gonna go back to that again, is art approvals
on a timely basis. In our business segment, three days is what our
commitment to our customers is. And that’s three days
after art approvals, and garments, and all
the paperwork is in. And many times, on the
second and third day, we’re still waiting
for an art approval that was sent out on the
morning of the first day that, for some reason, they
haven’t gotten back to us. So, we do a lot of, in our shop, we do a lot of,
what my staff calls, customer maintenance
or account maintenance. Sometimes they refer
to it as babysitting, but we know that that’s
the business that we’re in, and that we have to do that. And if we don’t
get art approvals on a timely basis,
things slow down. The second most
proficient bottleneck, or the second most
common bottleneck has to do with screen-making and not having screens
when they’re needed. And my philosophy when
I work with people is always tomorrow’s
screens today. You’re screen guy does
not leave the shop until every screen
for tomorrow’s work is done and set in stage. So the press operator
never has the excuse that says I don’t have screens. Well, that’s a tough one because a lot of what our
industry is is a craft. And there are a
hundred different ways to do pretty much everything that we do in our industry. Standards within the
screen printing industry are something that’s
been talked about since screen printing started. And the screen
printing that you and I are comfortable doing right now really started in
the 1920s and 1930s with military t-shirts where it said Army or
Marines on the front of it, those types of things. And then it grew out of that. Screen printing was developed
much sooner than that, but the mass production
was military items. And, at that point, you
always had mil spec, military specifications,
that said the shirt had to do this, and
survive launderability, and those types of things. And then as more people
got into it as a craft, the specifications just
never were developed, and there were a
hundred different ways of doing each of these things. So, you can go to a
imprinted sportswear show, and learn a hundred
different ways of doing these types of things. You can go to a screen
printing SGIA show, which is now Print United,
and learn much more about the very technical
screen printing which is electronics and
those types of things, but in the garment industry imprinted sportswear show
is probably the best, and what you see on the forums, many, many different forums, the Facebook groups,
those types of things, but whenever you’re working
with a Facebook group or a forum, you have to realize that everybody is an
expert behind the keyboard, and you’ve got to learn to read and then apply what’s
applicable to your shop, and throw everything else away. And, sometimes, the
only way to do that is to try it and find out. So, there’s a lot of good
information on the forums. There’s a lot of bad
information on the forums. You just gotta,
again, dissect it, and throw away
what doesn’t work.
Kirsty: Hi, everybody! I’m, Kirsty Meakin from Naio Nails, and guess what, we’re doing Christmas Nails for the whole day. Oh my God! I’m so excited. Hence, I have a red …
Kirsty: Hi, everybody! I’m, Kirsty Meakin from Naio Nails, and guess what, we’re doing Christmas Nails for the whole day. Oh my God! I’m so excited. Hence, I have a red jumper on. This is about as Christmassy as my attire gets. Well, today we’re going to do… because I have a knitted jumper on, we’re going to do a knitted jumper design. And love it when it’s winter and Christmas time because we can do the knitted nails that have been going around for about what, five years? They always come back round this time. Yeah, so I do love doing them. We’re gonna do it a little bit different but it’s gonna be exciting. So, I’m gonna start…I’m gonna do it over these two nails to give you an idea of how we can sort of do this design yourself. I’m gonna pop two tips on. Where I’m popping that on, I’m popping right at the very end of that nail. [Kirsty singing] Gonna cut down the length because I know Vanessa will not be able to cope with those. You know what I mean. * do you think or * bit too long? Vanessa: *
Kirsty: Yeah. Vanessa: Yeah! That’s about as long there. Vanessa: *
Kirsty: Yeah. Vanessa: Assist her now, Adam. Adam: *
Vanessa: * nails. Adam: Alright!
Vanessa: * silicon cover * Kirsty: What did you say, it’s slippy? Vanessa: Yeah, and the clicking of the tapping *
Adam: A silicon cover. Vanessa: Yeah. * So the nails don’t slit back * Kirsty: I’m just gonna pinch that slighlty just to make it a little bit more narrow like that, so we get more of an almond… not almond, no. We get more of a ballerina shaped nail. We’re just gonna blend that in a little bit. And we’re doing the same with this one. I’m just gonna wipe over with Gel Residue Wipe-off Solution just to clean that up. You can wipe over with Acetone if you want to, to melt that tip a little bit but it’s fine. It looks grand. Grand it goes! Its grand! Dehydrate with the Nail Prep Dehydrator, and then I’m gonna use the Ultra Bond Acid Primer just on that natural nail. You can see that I’ve already prepped the nail. So, I’ve removed the surface shine, I’ve done the cuticle work and all that. If you wanna know more detail about how to sort of prep a nail, we do have videos with that on. I’m gonna use Medium-speed Liquid with the Natural Beige Powder. This is a gorgeous cover powder. It is my favorite of the cover powders. And it’s me favourite because it just covers really nice and it’s really easy to work with. So, I’m just gonna keep stretching that to the end. I’m working on the length first. Next bead, we can do the cuticle area, we can build up the apex. So, I’m gonna tip the finger down now. So, notice I’ve changed the angle of my brush. I’m gonna slide the product down. You can always re-hydrate previous bead of acrylic as well with your wet brush. That just helps to slide that bead over the top and you get a great connection between each bead. Adam, have you asked Santa for anything for Christmas? Adam: Erm! Not really, no! I’ve got nothing that I’m sort of… there are certain things I’d love but I don’t think anybody can afford them. Kirsty: Yeah, I’d like a mansion as well. Adam: Yeah, mine is just more about like… Kirsty: Techie stuff.
Adam: Toys. Adam: Toys. Geeky toys. Kirsty: Geeky toys.
Adam: * very stuffy, yeah. Adam: Talking about 50 grand worth of stuff.
Kirsty: Oh well! No *. Kirsty: I’m gonna do the same on this other nail as well. So, you could do like a… when I show you the design. I think it’s a nice design to be able to just use as accent nails, so the other nails could be just quite plain and it could be all about those accent nails, and then, that helps with timing as well when you’re working in the salon. You don’t wanna do like a full set, full set of knitted nails. It may take some time and in the salon over the Christmas period, it’s a little bit crazy busy. And I can come and pinch this nail now. So, the first nail that I applied, we can pinch that one. We’ve allowed enough time for it to start to set up and we can give it little bit of a pinch. Kirsty: Does that hurt you?
Vanessa: No! Kirsty: Very good. Now, those that are pinched and set, we’re gonna file them. So, I’m gonna file side walls and then, I’m gonna angle into that cuticle area. And I can contour. Right! We’re gonna buff. I find some people skip this process, you know, buffing. I think it’s so important to get everything nice and smooth. It softens everything. Then I’m gonna wipe over with Gel Residue Wipe-off Solution. So, our background is going to be white, and this is where you know you need to kill the time really, don’t you? Sorry, Ness. Vanessa: I didn’t get what you said. Kirsty: You kill the time when * white nails.
Vanessa: Time? When you said, I was like, what? Vanessa: *
Kirsty: * Kirsty: So, I’m gonna do both nails white. Vanessa: * put my arm next to my leg, it looks they’re from two different people. Kirsty: Because your arm’s been in the sun slightly.
Vanessa: Yes! Kirsty: Pop me that in the lamp. And I’m gonna do two coats of white. What’s your favorite Christmas song? Vanessa: Sleigh ride.
Kirsty: Sleigh ride. What’s yours? Adam: *
Vanessa: I’m not… really? Kirsty: The sad one.
Vanessa: Yeah. Kirsty: Pop it in the lamp. So, I’m gonna use black, first of all, and we’re gonna do some knitting needles. Can you knit, Vanessa? Vanessa: Nope.
Kirsty: I would have thought you would have been the knitting kind. Vanessa: I’m not sure if that’s a good thing, I don’t know, that I seem like the knitting kind? Kirsty: Like…no because you’re creative, I just thought that you’d be able to knit? Vanessa: I’ve never tried. Kirsty: I used to be able to knit. My mom can knit. Vanessa: * I thought she was never gonna stop *. Kirsty: Oh my God! Her fingers started to get really sore * knitting. I mean, sorry… Vanessa: Sewing.
Kirsty: Sewing and sewing teddy bears. Kirsty: Making teddy bears out of clothes of loved ones that have passed away. Cure me them. They don’t need to be super super black. I mean, I know that Serious Black is well, seriously black. But don’t worry if it’s a little bit transparent because we’re gonna go over this with silver. The silver we’re gonna use is Tarnished Silver from the Platinum Collection. This is super pigmented. So, easy to use because of the pigment. I’m gonna go over and I just wanna leave like little bits of that kind of showing through. It’s as if it’s have a little shadow * and they look like drumsticks right now *. Pop that in. Now, for the jumper, the knitted jumper, we’re gonna use Spa Day. Gorgeous! I don’t wanna like… yes, I know it’s Christmassy, but I wanna keep it like not typical red. I want to do something a little bit different, so we’re gonna use this gorgeous colour. Pop some on some backing paper from the sculpting form, I need a little bit there. Gonna use this slanted brush and this is where you wanna start. So, we’re doing it as if it’s open a little bit because they are knitting the jumper. You can fill the rest in with the brush from the bottle. I’m *. * Adam. I only want it to sort of to make it appears as if this wool is going round the knitting needles. And we’re doing little sort of curved lines like that. Pop me that in the lamp. Then with a little bit, we’re gonna come do like a piece off the wool sort of stringing off and it’s gonna go into this nail. Do a little loop. And we’re gonna do the ball of wool. You’re best sort of like painting the outside with your brush first and then filling the rest in. Pop me that in the lamp. I’m gonna mix a little bit of top coat and a little bit of black, which will just sort of make it like a transparent kind of grey, and this is just add a little bit of a shadow where the ball of wool is. Go slightly darker when you come to the ball of wool, so you get like a * shadow. A little Shadow here. When you’re doing your shadows, make sure they all go on to that same side or else it will look a little bit weird. Won’t get a true shadow. And pop me that in the lamp. Into the lamp we go! And I’m gonna go over with matte top coat. Vanessa: I hated taking the decorations down. * taking them down. Vanessa: *
Adam: * Vanessa: Looked very bare. Adam: Well, it does leave the room very bare, you’re right.
Vanessa: Makes feel a bit depressed * Kirsty: Alright! Pop me those in the lamp because I want the knitting ones to be shiny for everything else to be matte. Vanessa: You’re obsessed with that now, aren’t you?
Kirsty: I’m a little bit obsessed with that. Adam: She hasn’t done any matte bubble yet. Kirsty: Well, there’s always time.
Vanessa: What can you say? Kirsty: And now for the exciting bit. We’re gonna use the gel polish, the same colour. We’re gonna do a little knitted pattern. First of all, we’re gonna do a line here and * here. There and there. We’ve got sort of three each side, then we’re gonna do little shapes. And I’ll do this kind of zig-zag. I also want to add a little bit on top of those little kind of loops that are over the knitting needle. This is Natural Powder not Clear. Adam: What’s the difference?
Kirsty: You can use Clear. It’s just gonna make it very slightly bright, to be honest. Adam: That sort of give it a bit of contrast.
Kirsty: Yeah. Adam: Where the Clear would just give texture.
Kirsty: Yeah! Kirsty: So, you wanna dust over and the gel polish will absorb the acrylic powder, and that’ll give it that textured effect. Go cure that one for me. I’m gonna do it like that. I don’t wanna do the other one and then do that one because you can guarantee I’m gonna smudge that one. That would not be good, and for the ball of wool, you’re gonna do little curved lines in different directions. So, we’ve got those there and there you’re gonna have little here and * Adam: *
Kirsty: * Adam: * no whisper or if it’s just a groat * Kirsty: Come in this way like this, not concentrating so much. Oh my God! Let’s sprinkle sprinkle sprinkle! Pop me that in the lamp. So, we’re gonna dust over now. Look at that! That looks so cool. I love it! That is so cool. Vanessa was like, “I’ll be your model if you do me sweater knitted nails.” Vanessa: And if it was Christmas.
Kirsty: And if it was Christmas, yeah. Vanessa: She was like,”Mm! I may have something fun but are we doing Christmas * Kirsty: You wanted the sweater, didn’t you? So, I’m gonna finish them with a little bit of Cuticle Oil. I’ve got the Peach Cuticle Oil. Adam: She got the Cinnamon one. Kirsty: Oh yeah! We need Christmas scented Oils. Naio Nails, they need to go and get them sorted. I think my mother would approve of those. Adam: Does your mom knit?
Kirsty: She’s very good at knitting. Kirsty: We have spoke about that. You must have been on another planet at that stage. There you are, guys! I hope you’ve enjoyed this video, and I hope you’re having a great winter/Christmas because winter is just about Christmas, ain’t it really. Everything I’ve used today will listed below. Don’t forget, check us out on Facebook and Instagram and I’ll see you in the next video. Bye-bye! [Kirsty singing] Adam: We are having earplugs. [Kirsty snging] Adam: I don’t like Christmas, to start with. Vanessa: Well, you’re a Grinch.
Kirsty: * here. Adam: No, I don’t mind it now. It was when I used to work in restaurants, it was… Christmas was horrible. Kirsty: See, he’s singing it now. Kirsty: * go through you.
Adam: It’s infected… I’m not *. Adam: I do like Christmas. I do honestly but… Vanessa: Drags out when it’s like *
Adam: I love Christmas Day! Adam: I think it’s… I love Christmas Eve, I love Boxing Day.
Vanessa: I hate the fact… Adam: Those three days are amazing, everything else is annoying.