You just have it standing up straight then it would have drape because obviously, this distance from your shoulder to your chin is not going to be as long as the neck on the shirt, the actual shirt, so it's going to end up bunching because you're going to have it pulled up and your neck is going to push it down.


But if you have a regular turtleneck, here I'll show you how to draw it if it's folded over.


So first do your little around the neck thing, and then this is the fold line, that's where it folds down over.


In this clip we are going to go over the different types of bleeding that can occur and the different aspects of treating it.


This one is very important because it's a major life threat and you could die from it very quickly.


Arterial blood is the bleed is described as bright red squirting blood.


This will come in spirits with every time your heart beats.


It's important that when you come across an arterial bleed that you immediately go for the steps of treatment.


What that would include would be first direct pressure, elevation, pressure point and last is the tunicate.


There are three different types of bleeding that you should be aware of.


What they are is capillary, venous and also arterial.


Capillary bleeding is one of the most minor.


It usually requires no intervention at all.


That can be something such as a rug burn or what we call an abrasion where you have actually torn the skin off and you have what is an oozing type of blood coming out.


Venous blood will normally be dark and it's normally going to be a nice steady constant flow of blood.


That's what most people see and it's pretty common.


This hairstyle is good to use if you're drawing something that's evening wear, something that you have a very simple and elegant evening gown, a simple dress, something that you don't want the hair to compete with, in any way, in any way, shape or form.


Nothing all that hard, it's just a low bun, at the nape of the neck, hair is swooped over.


If you're designing a collection of work cloths, this is always a good one to use.


You could even use this hairstyle on every single drawing that you do and just make it uniform, throughout.


I've done that before and it ends up looking really good at the end because you have uniformity.


We start with our part and then decide where you want the bun to be, as I said earlier, nape of the neck, low and then throw some in front of the face but still do it with order, like it was intentional.


ALEXSON ROY: So our next related sports massage athletic condition is mostly what gymnasts and swimmers get, and that's problems with their latissimus dorsi, which is also known as big swim.


And then you have your teres minor as the little swim.


So once again, everything is away from the spine.


Spine is not really a joint, the joints maybe within, but this is not really a joint.


The thing is you'll want to push it away from the actual spine 'cause this muscle right here along the spine is going to get really tight, and then the latissimus dorsi gets really, really tight because the spine is so tight.


So once again, push it down, push it out, okay?


Then maybe repeat that a couple of times until you feel it just gives a little bit.


And they call it big swim, little swim because your latissimus dorsi is all of this right here, all the way up to your scapula.


This whole entire muscle, like, of your lower back all the way up into your scapula, okay?


And your teres minor connects right in here.


It's a little muscle that kinda attaches right through here, okay?


So this is the big swim, and then this is the little swim.


They have the same point of origin but different points of insertion, but it is truly effective when you kinda do that front stroke, okay?


Or let's say you're a gymnast and you're hanging and you're trying to pull yourself up, something like that.


If you're a film festival type of person, you're like going to festivals.


It's always good to enter a couple of festivals, if it's not your thing, just don't do it anymore for future films.


But my route usually is, since I know where the program's going to go, what my intention is, it's kind of a waste of time for me to send it to a film festival because I rather just get it in the video stores.


I'd rather just get on PBS and wait the six months or whatever before I could send it out there because usually there's stipulation with the film festivals is you can't have your film distributed.


You can't hand it out to distributors yet.


It has to be kinda like an untouched product.


If you have time, you're in no rush you do the film festivals if you definitely want to get the thing out there, get it sold.


For some things, I think film festivals worked a lot better years ago, but they don't work so good now 'cause there's so many film festivals and a lot of them just seem ways, I won't name any film festivals, but they seen ways for the film festival to make money off the filmmakers 'cause there's so many filmmakers, so many films being made.


You're probably going to have to forego that route.


They have like an entry fee, 50 or 100 bucks or whatever, and they're making a lot of money, now, hundreds or thousands of people send in their film with their $50 or $100.


So, it is business for the film festival, the companies who were doing the festivals.


If you get accepted on festival or if it gets shown, that's a way for the publicity that kinda works for the publicity and the hype.


And if you win any award, it's always good to say "Oh I won so-and-so award".


And that's, again, for the distributor, he has all the newspaper articles or internet reviews or whatever, it's as sure as the same purpose.


Just because you're accepted, and let's say, you win for a second or third prize at a film festival, it doesn't mean you're going to get a distributor.


It doesn't mean that distributors going to pay more money or whatever.


In this clip we're going to learn how to improve our math skills, and don't fool yourself.


Just like I said in the other clip practice, practice, practice okay.


The first thing you could do is practice every day for 15-20 minutes especially if you don't have any homework.


You must practice a little bit every day.


I give my students homework and what I do is I give them twenty problems to do from one week to the next.


Maybe twenty five problems, but I expect them to do only 3 problems per day.


That's three times seven is twenty one or three times eight is twenty four, just three problems per day.


That way they get used to the idea that they must practice the mathematics every single day whether they have homework or not.


That's what makes the difference between the As and the Cs okay.


So also get together with one of your friends who knows their math really well and they could help you too.


I'm going to tell you about a basic part of skateboarding which is the kick turn.


Once you learned how to change your direction on the skateboard by leaning, you can turn the skateboard by a kick turn.


Anticipate the turn of your body, feel it in your legs pressure on the back tail knees bent spin, the rest of the body around, 360 degrees.


Before long you'll be using this trick to help you learn other tricks and it will help you learn how to keep your body with skateboard moving at all times.


A kick turn involves putting pressure on the back tail and spinning the board on the back wheels.


A kick turn can be any number of degrees 90, 180 or completely 360.


Practicing these tricks will help you learn how to move with the skateboard and not against it.


Simply stand on the skateboard move you back foot to the ollie position then as soon as you lift up the front of the skateboard begin to twist your body until you feel comfortable.


Notice I begin to turn as soon as my back foot puts pressure on the tail, one swift motion.


To turn sharper and faster you can make sure that your back foot is even further back on the tail and give your body more twist.


The great thing about aqua water fitness is you can basically do it anywhere there's a pool.


Whether it's just a day out in the sun with the family or your own traveling around.


Most hotels have pools where you can jump right in.


Now most people have the idea that working on a pool you're not really getting a great fitness workout.


But that's totally wrong, you can push yourself just as hard as you need to running on a treadmill, working with weights, no equipment needed to just hop in the pool.


The water creates a resistance so that you're working your shoulders all the way down to your toes depending on which muscle groups you're going to focus on in the pool.


It's so important to treat this just like you would any other workout.


Warming up your muscles, getting your heart rate up, getting that blood flowing throughout all of the muscles.


So the first thing you want to do is to hop into the pool, start running back and forth so that we can really get that cardio vascular system up and going.


Okay, another form of artifactual communication is your clothing.


What you wear gives a very strong impression of who you are.


The only thing that you want to consider when it comes to clothing is, are there certain times where you need to alter that expression.


For example, when I teach college class I always bring this up to my students.


I tend to dress a little more conservatively.


And I ask my students on the first day of class, when I walked in the door, what was your impression of me?


And they rattle off, all these complimentary things of course, because they all want A's.


But then I say to them, what would you have thought if I had walked through the door in a tank top and cut off shorts.


And they're all in shock because they wouldn't quite know what to think of that.


But, it would give them an entirely different impression of me because I say to them, "What would you think of me as a professor if I did that".


And the answers are always completely different, than what the initial perception was because of the way I dress.


So dress is a non-verbal and it's just something to consider again based on whatever situations you might be going into.


You know, maybe your style is more formal.


Maybe you have a very Bohemian style, where you dress very eclectically.


Neither is good or bad, it simply is a non-verbal impression of who you are.


Now that we've got one of our photos edited, let's go ahead and edit the other background photo which is going to actually add to our scene here and that one's going to be this one here.


And actually what we can do is we can come over here and hit these little "eyes" here and turn off all of our other layers except the layer we are going to use.


It looks like he's got some bananas in here and some grapes and stuff.


Nor the background fence and the house and stuff.


But I do want the leaves and I want this branch here and I want this branch here, just for background purposes.


So what we can do is we can actually come through here and we can Quick Mask what we are going to keep here.


This is another way of selecting the things that you want.


So come over here and what you're going to do, your going to hit your Quick Mask button which is this button here, with the square and the circle inside of it.


And then we are going to go into our Brush tool because that is the only way our Quick Mask button will work.


Let's bring our brush size down a little bit and what we're going to do is we are just going to come in here and we're just going to paint this selection here.


Now this is going to take us a minute to do, to do all this, and to do all the leaves so I'll go ahead and get in here and get this right.


Now I can release off of my tool and then come back to it and brush because what we're doing is really just painting.


Now when you get to the edges if you want to you can actually use a soft paint brush if you want to select your edges here.


And what's going to happen is, after we've selected what we want, we can come in here and hit our Quick Mask tool and release it.


And as you can see, everything that I've painted now becomes a Selection.


You might not be able to see this here but I can see I have a bounding box all the way around the outside of my picture.


So what I want to do is hold down Command-Shift-Command and then hit "I" which is going to inverse that selection and actually select everything in here.


And what I would do is I would delete everything outside of this Selection.


Or if I have my Quick Mask tool on, I could just leave it on and use my Erase tool and erase everything that is inside of this Selection before I Inverse it.


So this is how we are going to select this out, continue on with it, and I'm going to pause here, do what I need to do and we'll come back in the next section.


Let's name this Apple Branch and what we are going to do is let's pick our Pick tool.


Let's move this in the center here so I can see it.


Hit Command-Space Bar to get our Zoom tool option.


And as we can see here we've got a lot going on.


So, that, if you do a dash line, it means it's on the inside of the fabric.


O.k., the drink we're about to make is called a Pink Limon.


We're going to serve this up in a martini glass.


So put some ice and water in there and let it sit while you're making your drink and it'll be nice and cold.


Alright we're going to measure out one and a half ounces of Bacardi Limon, our lemon flavored rum.


And we're going to follow that up with two ounces of sour mix.


And next we'll add a half ounce of cranberry juice.


Let me add a little bit more than that, make sure it gets nice and pink.


Alright, now we're going to shake it up, get everything nice and cold.


Go ahead and pour out your ice water and get your strainer, pour it in, very full.


The next cast we're going to learn is the overhead cast.


And then all we do is drop our elbow down.


And there is our completed overhead cast.


Now that you've learned the movements, we are going to make the cast with the rod, reel, and line.


It has a back direction and a forward direction.


It's always best to start out with a short amount of line and learn to cast it well before you go for the gusto and the distance.


So, we're going to do just like we did with the Roll cast.


We're going to start with our tip down, we're going to lift, we're going to slide back like this.


Now, notice how we flick out rod tip up?


So, as you've noticed as I brought this rod up, my head actually followed my hand and I went up to my rod tip to see the line and I came forward.


When you're learning this it is really crucial that you watch the timing of the rod and the line as it works.


The back direction is the hardest to learn because it's really difficult for us to essentially learn to make our muscles cast backwards and then go forward.


So the overhead cast is used when you have lots of room behind you to make a forward cast and a back cast and you're not limited with back cast room like we did with the Roll cast.


Now, I can pretty much guarantee you, if you have been chosen to be a best man or a maid of honor, you are going to be giving a wedding toast.


But you might not necessarily be in one of those positions, but you still might have been asked to give a wedding toast.


Don't panic, don't freak out, it's really not difficult.


I'm going to show you step by step, the way in which you want to write this speech and then I'm going to give you some really important information about what to do and what not to do, especially in relation to delivering the speech.


A wedding speech is really important, not so much for you but for the bride and groom, especially the bride because I guarantee you, the words that you say she, and maybe he, will remember for the rest of their lives.


I'm now going to work over that, with black acrylic paint.


I paint the way I feel intuitively that I should go.


So in this section I want to do the tiger first.


Yes, when I start painting behind, I may overlap onto the black, but that's okay, then I'll paint the black again.


It's my particular method, and I said earlier, I have a tendency to paint in strange ways, I don't follow the norm.


And I think my point here is that I celebrate my way.


So, anybody else's way I also celebrate, as long as they don't try to tell me to do it there way.


Most of the paint I've used for the walls and the murals is actually just a standard interior eggshell, which I got from the paint store.


I'm not trying to tell anybody to do it my way, I'm just showing you what I do.


As you know you can get any color mixed up that you like, so I had a variety of colors that I worked with.


When I want to go into details, then I use my acrylic paints for the bright red flowers, and the blues and the black on the tiger.


Hi, I'm Chris Murray, and I'm going to show you how to warm up using touch drills.


In soccer, it's very important for you to warm up with and without the ball.


This is another way to really get your legs warm for a soccer game.


Another touch drill to do before a soccer game is just simple dribbling.


By dribbling around in a large area or even in a small area really allows you to get a feel for the ball.


And those are just some touch drills to do when you warm up for soccer.


By warming up without the ball allows you to get your muscles warm enough and be able to stretch.


By warming up with the ball really gets you a feel for the ball and gets you ready to play.


Some little touch drills that you can do to warm up are extremely simple.


One touch drill that you can do to warm up is just boxes on the ball.


Boxes on the ball are done by having the ball in between your feet and touching the ball back and forth.


This really allows for you to get your legs warm and for you to get a feel for the ball.


Another touch drill that you can do to warm up for soccer is touches on top of the ball.


Touches on top of the ball are done by just jogging in place, touching the top of the ball with the soles of your feet.


Hello. This is J.B. I'm with Austin Homebrew Supply here in beautiful Austin Texas. Today we're talking a little bit about wine making equipment.


So, by using one of these refractometers you're able to figure out the sugar content of whatever liquid you're trying to; you're trying test the sugar content of.


So, that's just a little bit about how to use a refractometer.


Now, right now I want to talk about a particular testing instrument called a refractometer.


A refractometer is one other way, one other testing instrument that you could use to figure out the sugar content in a liquid.


So, with the refractometer what you would do; you would take the refractometer and you would take the pipette that is also part of the refractometer kit and let's say you're out in a vineyard and you want to test the sugar content of a grape.


You would simply take one of the grapes off the vine, break it, use your pipette to draw a sample out of it and then open the cover on the refractometer, take your pipette, put a couple of drops on it, on the face plate here and then drop that cover back down.


Then you would simply take this guy, hold it into the sunlight and look into the end of it.


There would be a scale that will be generated by this face plate that when you read it from the inside there will be a line at the particular sugar content that this particular grape has.


Here is another couple of examples of what the Holga does, and does fairly well.


This is an image taken with the Holga with a flash, very cloudy day.


So again, the subject is just right in front, and then the background, the people there, it just is completely flattened out, almost like that's a painting or a backdrop behind her, or him.


This is actually one of the original munchkins from the Wizard of Oz.


And the Holga tends to make strange situations or strange images even stranger.


And that's sort of what I feel it did in this image.


It just really looks, really...the flash hit her, and just really made a very interesting image.


And also this image - the Holga tends to do something to backgrounds, where it flattens them out, and that has a lot to do with the aperture that is in the Holga.


But it also, it just makes things look like a movie still, which I find it does again and again and again.


And it's sort of back to that Holga being a one-trick pony sort of thing.


And it actually, you know, if you utilize it properly, it's an absolutely amazing tool.


What we're doing as we have our piece of paper in front of us and we're going down that outline and we're writing our thoughts is we are trying to look for holes in the other person's case or theory, if you will.


We're going to make an analysis of those and then we're also going to need to take a look at their evidence.


And their evidence are the things that they have found in research that prove these arguments to be true, or support these arguments.


So those are the two things that we're going to take a look at to try to refute the persuasive claim.


Where are the mistakes that they made in their presentation?


So we're going to do an analysis of their evidence and their arguments.


And of course what their arguments are, are things like "Well, it?s cruel to take animals to the slaughter house." That would be an argument.


"Abortion is wrong." Ten year track appointments for professors are a good thing or a bad thing. Whatever it is. What are their arguments?


In the following clips we are going to talk about the correct procedure for replacing your upper and lower ball joints on a 2-wheel drive full size vehicle.


What that's going to give me is the mechanical advantage over this stubby handle.


Just due to the style of vehicle you may be working on, you may have to do some pressing and change your cup configuration.


I'll go over that with you here shortly.


What we're going to do is run the ball joint down until it's tight.


When it's tight, I'm going to release my drive screw and check and see if I can actually get my snap ring on the ball joint itself.


As you can see my ball joint in not pressed entirely through the hole, we?re going to have to change our configuration slightly to continue squeezing the ball joint into the location it's going to need to be in.


In this clip, we're going to talk about the actual procedure used for pressing in your new ball joint.


As you can see, I changed my ball joint driving configuration slightly.


What I did was take my cup from the bottom and moved it to the top.


Depending on how much room you have when you're pressing in your new ball joint, you may have to switch it back and forth.


These clamps come in various different sizes.


The particular one we had only had enough throw to get it started and then we would have to switch it and drive it through.


The larger one are, of course, more expensive and your parts store may not carry it.


The kits are designed to be extremely universal, so if you put the kit together correctly, you can do any ball joint on the market.


I'm going to take my ratchet and put it back on the drive screw, my cheater pipe and finish pressing my ball joint in place.


I have my half-inch drive ratchet with a seven-eighths socket.


And that is proper way to seat your ball joint.


What I'm going to do is loosen up my clamp and get it out of the way.


As you can see, my ball joint is pushed all the way through.


You can actually take and look and see the groove that our snap ring seats in.


You can take and feel it underneath at shoulder and make sure that there is no gap.


That's the proper way to press in your new ball joint.


The ball joint press itself has a hex head on it which where you are going to put your socket at.


It's either a seven-eighths or a thirteenth-sixteenth.


Those are the only one's that they have on the market.


I'm going to take my socket and stick it on there and tighten the screw down.


When sanding our pieces we just want to start by sanding the outside of our frame.


You can flip it over and get that inside part.


The next thing that we need to do is break the edges and what I mean by breaking edges is take some sand paper along each edges that is going to be showing.


Or someone could potentially touch it and we are just going to sand lightly and just round over those edges just a tinnie tiny bit.


Now the reason that we do this is so if somebody bumps into it once it is finished it does not chip off a chunk of the finish and make it look bad.


By breaking these edges is would really help prevent that.


So, what I am holding in my hand is a thirty-five millimeter negative carrier.


And, what you do with this is you put your negative in here and you close it.


When I talk about printing, I am going to show how to do it on the light table.


But for today, I just want to show you how this enlarger works.


I pull the head open, and what I do is I slide it in and I make sure it fits perfectly.


Thus, the light can shine through my negative onto my photographic paper and I am on my way to making a print.


Now, there are a million designs of these type of carriers, but what I am showing you today is a design for this one.


The thing you want to remember, is to make sure that all the pieces fit.


What you do not want to do is have something that looks kind of wrong.


Like the notches are not fitting correctly.


When you are putting your negative in here, you really want to take your time.


So what are loops, those are those things that you do on letters like h, on y and g, and we are going to look at the size and shape of the loop.


So when we are talking about loops, we are talking about letters such as h, where you see there is an upper loop or g, where there is a lower loop.


Ok, now that would be what I would call an average size of loop.


Now if you have a loop which is very rounded, that might be, like that , like that, you see how rounded it is, and that means a person who is very open to other people's ideas, what we call in hypnosis, suggestible.


Alright, or you can have a loop which is not at all rounded, or in fact missing even, it might be like that, or like that, and that is a person who is a lot less suggestible, less open to other people's ideas, tends to have their own opinion on things, they tend to be more analytical a bit more critical.


Another type of loop, is a loop which is actually pointed at the top, if I can do that, or at the bottom, pointed, now I didn't do that very well, but you can try and see what I mean there, anytime you have this point here, that indicates a level of neurosis, that's kind of like over thinking things.


Ok, the other thing to look at with loops, is are we having an emphasis on the left hand side, or the right hand side, see what I mean of the letter, so anything which is on the left hand side indicates, the past, and on the right hand side, indicates the future.


So this person here, if they had a loop like that, you might say they are very, they tend to look back at the past a lot , and could be someone who is a little nostalgic, some one like that, and this would be someone who is a bit more forward thinking, and they like to think about things in the future.


One of the things that you really don't want on a job for when you're working from a home office environment is distractions.


It's so easy- and this is actually true whether you work from home or any typical office setting.


What you want to do is completely avoid e-mails and voice-mails if you can, until you're completely done with your most important things for that day that you need to get done.


And if that's not possible, then at least schedule in times, maybe once or twice a day when you will attend voice-mails and e-mails, but don't go over that time.


And anything you can't get done, it probably wasn't the most important thing anyway, so you'll be okay.


But as far as e-mails, and voice mails go, those are kind of your big time consumers if you let them be.


I know for my self, and I've talked to a lot of other people who work at home, who have found that, who has somewhat challenge, when you're constantly checking your e-mail, there's always something coming up that you can do.


And a lot of times it's not the most important thing, but you get sucked into it, and before you know it an hour is gone.


So here I go to my e-mail, oh lets see, okay, yeah, this guy he wants me to write an article for him, this is important I better get back to him.


Oh, okay, he wants to know, oh what do I do, okay, I got to get and see my resume, some writing samples.


You know what, there's an effective way to do things, and an ineffective.


The ineffective way is to just attack everything as soon as it comes.


That's not effective because you'll be- if you do that, you can easily use up eight hours in a day responding to e-mails and voice-mails, and you're not going to get anything done.


It's important to talk a little bit more about main springs and the rise of main springs because it really allowed the American clock and just redo blast them in a way that it could've if they were confined to making big cases that had to have weight descending inside them.


You really, suddenly with main springs powering the clock, you could make much smaller clock, you could make clocks that were inexpensive as well and it could fit in people's homes in a different way.


This is a, from a French clock, but instead of the spring being out in the air and expanding, the spring is contained within a barrel.


This system works basically the same, but it keeps the spring cleaner and allows you to have, have the spring gear driving in and perhaps a little bit more effective weight then these open springs even though you have the expense and complexity of building a main spring barrel.


This is just an example of a Ansonia Ironing Clock, but spring driven.


If this clock had weights in it, it have to be the size of the OG clocks or the Pillars and Scroll clocks that we talked about before.


I've got a couple of main springs here to look at, and these are steel.


I mentioned that brass main springs were used initially by Terry and Andrews and some others, but they were, they weren't as good for a number of reasons.


So these are steel main springs; often when a main spring breaks, that's what the problem is and we'll talk about servicing clocks later, but this is what's powering the clock, it's your energy that winds it up tight.


Well, if you look in the back at the movement or if we look in my, the movement on the stand we saw before, you can actually see the main spring that expands as it's running and gets small and gets nice and tight and small when you've wound it up.


Many clocks, however, contains the main spring inside of barrels.


Closing the ribcage to protect your back.


Go ahead and center your ball in front of your body and lean into the ball.


And, when you are done, go ahead and stretch over the ball.


Separating the scapula to release those muscles in your back.


So, the ball should be just up above your pelvis.


Bring your hands to the back of your head.


Or, if you want, you can bring your hands out here.


Take a nice inhale and exhale come back.


Another very important part of our weight management program is understanding energy sources.


The body has two sources of the energy that it needs.


What this product does is it tricks your body into thinking that the glycogen has been depleted, so the body will start burning fat immediately.


The way this works is like this: you consume an Access Bar 15 minutes before activity, on an empty stomach, and your body will immediately start burning fat.


One: you don't get lactic acid buildup, which is what happens when the body is burning sugar.


There is also no fatigue, which also happens when the body is burning sugar.


And the third benefit is no muscle soreness, which is one of the greatest inhibitors to the continuity in an exercise program, because if you're sore the next day, you're not likely to get up and go at it again.


The important thing is to be able to enjoy the exercise and utilizing the Access Bar, and applying this whole concept of the energy system is what enables us to really be able to enjoy the activity, so we look forward to it, to the next day.


It can either burn fat, or it can burn sugar.


Naturally we're all trying to burn fat, because we're trying to streamline our bodies, and we're trying to lose weight.


But the problem there is that the body is programmed to protect its fat source.


So, basically it has to deplete the glycogen, which is the sugar storage in the blood, before it will even begin to burn fat.


This means that, normally in our exercise program we have to exercise for at least 20-25 minutes to be able to work through the glycogen in the blood, and that's when we begin to burn fat.


There is a solution to this problem though.


There is a product called the Access Bar.


It's made from a special kind of chocolate.


Okay, so this is the second leg that we did, and this is the one that we cut off, it has the seam binding on it or hem tape, whatever you want to call it.


And this is just a little review of what we did on the other leg basically.


And I'm just going to grab the pants, the lower layer and the fold, all at once, and I'm actually going to make several tacks just to go through this, because I don't want that to come apart.


I don't think it's going to, I did like 4, so.


And I showed you how to do a whip stitch earlier, so let's just review.


You grab a little piece, go right through the side of the binding, and it's basically just like it says, a whip stitch, it's a blind stitch.


When you flip it over you can't see it on the other side.


We're going to pin this up right where we want it.


And on the other leg, let's see on this one.


Actually I had used the gray thread, and now that I'm pinning this up, looking at it, I think I might just use some black thread that will match my hem tape, and it will make it look really nice and professional, just in case somebody wants to look inside of your pant leg and see how it's done.


Okay, so let me get my needle out, and enough thread to go around the leg.


And I like to use a really sharp needle on blue jeans just because, if you use a dull one it's going to be really hard to grab those little pieces.


Okay, so, I'm going to start right here where these have overlaps, and I'm going to, I'm just going to move that thing out of the way.


This is one of the few things that you kind of need to know about steam binding.


And I'm the owner of Climb On indoor rock climbing in Wilmington North Carolina.


These are the benefits of indoor rock climbing gyms.


Today we're going to discuss the benefits of indoor rock climbing.


Some of the benefits of indoor rock climbing are that you have a controlled environment to learn the skills that it takes to become a good rock climber.


Different skill levels are needed outside when you go climbing.


In an indoor climbing situation you can use many different types of faces, cracks, hand-holds to begin the learning process of climbing.


The controlled environment is a very safe place to work your skills, keep them updated or learn new skills.


Again in a safe controlled environment of an indoor rock climbing gym.


Some of these skills may include knots, how to belay somebody, sport climbing, trad climbing or setting up a top rope in an anchor class.


With these skills you are going to become a better climber outdoors, safer and more knowledgeable.


Today, we're going to talk about advanced encaustic painting.


So, once you get some of these down, you can then switch points again and use the brush.


Now, I don't use that brush like you use a paintbrush but I kind of just pull it through the wax.


In a case like this, I could just come up and touch some of those lines like that and draw up some of that wax into--make it look a little bit more treelike here.


And I think if you start experimenting with these different points for doing details on trees and foliage, you'll find that they work really good in combination.


So, this was the very first painting that I tried to paint larger than just a card size a couple of years ago.


And I thought I would just point out things like trees.


They're really not that complicated but again, we're going to use the stylus.


For instance, you could use the trunk with this pen point to get a trunk going.


You could then switch to a more finer point like this to do some of the limbs of the tree.


Now, I could use this thicker point just as well but I thought I would just do a couple of these strokes down here just to show you what you can do after you put this down.


Now obviously if you are up on the second floor like this you can't do the outside of the windows yourself so I am just going to do the inside because that is all I can do from here.


So we are just going to use a glass cleaner, anyone that you like and again I go from bottom to top any time I use, any time I am cleaning mirrors or windows so that it doesn't soak into the bottom.


So again you need to make sure that you put a bit of elbow grease into this.


It depends on how often you clean your widows but really give it a good wipe down.


You want to make sure that your windows are sparkling and you get quite a bit splash here from the bath tub if you have got kids in the tub or if you have got windows nearby and also sometimes just the condensation from the shower can also leave little water marks on your windows.


So just give it a good rub up and down and give it maybe two or three squirts and your windows are nice and clean.


This one doesn't so just pretend with me.


When you're going to hit the ball, most times it's going to be right in the center.


You'll know that you've hit it in the center if it comes back to you the same way that you aimed it.


Sometimes you've got to use English for different reasons.


English is when you hit the ball anywhere but in the center.


There's low English, there's high English, there's left English, there's right English, and there's any combination of those.


Let me give you a little example of what each one of them does.


Okay, you've got you stick, you know how to hold it, and now you've picked out your bridge.


This is Mr.one ball; he's the yellow one.


Low English is going to draw the ball back.


So when I hit it I use low English aiming low at center and the ball is going to come back to me, or it's going to stop.


Now, what I did before, on accident, it's kind of called stop, which it doesn't really have quite a name.


It's not quite low and its not quite center.


When you hit the ball this way, the ball's going to stop.


That's important when you're lining up your next shot and it's somewhere close.


Now, the opposite of low English is high English, and it does the exact opposite.


This time when I hit the ball, I'm going to use high English, which is above center, and the ball is going to follow.


That's when I'm going to chase the ball to another shot.


Now, similarly there's left and there's right English, and that does the same thing.


Left English the ball is going to go to the left, and right English the ball is going to the right.


I'll explain later why these are important, but for right now that's English.


When you're shooting the cue ball always make sure you keep your form all the way through.


You don't want to shoot and raise up and see what happens.


If it'll help you, think about striking and imaginary ball that's right in front of that ball.


That means that really I'm pretending that I'm shooting right here.


What that does is it forces me to shoot through the ball.


After I shoot, I'm keeping my head down and keeping my body down that way I'm not affecting by making any sudden movements.


Again, when you shoot, shoot through the ball.


I'll talk about the rest of the balls in a second, but right now this is how you hit it.


Now, there are many different ways to hit the cue ball.


Now, many balls will have a little dot on them for reference.


What I'm going to talk about now is spotting your print.


Now spotting your print is when you have a print that you've made and there are pieces of dust or hair, that you do not want people to see in your print.


You always want to make sure you have something of a decent brush and it really shouldn't, it really a double zero or a triple zero is the absolute best kind of brush to use.


Now in the best world, you were able to get off the dust and hair with your negative cleaner or with your anti-static cloth, but as we all know things happen, sometimes there is even dust in the enlarger, sometimes there's dust on the paper when you took it out of the box who knows.


But regardless, there's usually a little bit of spots in everybody's print and there's a couple of different ways that you can make it so they're not so noticeable.


This way is called spotting and what this is, is it's a name called Spot-tone and I have a brush.


I'm going to talk about now is the brush.


I'll either use a double zero or a triple zero sable brush.


These brushes can range from seven dollars upwards to thirty or forty dollars.


In some ways the more expensive brush you have, the easier it is to spot.


I'm going to show you how make a drink called a Detroit Daisy.


Your going to pour this into a rocks glass.


We are going to pour in just a little splash of grenadine.


So, you are going to take your stirry straw and give it a stir.


You can garnish this with a maraschino cherry.


Pour this into your glass just about half way.


Then we are going to add to this one ounce of dark rum.


Next were going to do a few really good squeezes of lime juice.


It's going to be a very lime-y sort of drink, I guess.


In addition to bringing sunscreen to protect yourself from the sun, you also need to bring bug spray.


There's certain times of the year when there won't be bugs and there's certain times of the year when there will be but it's really important to always pack it, just in case.


Especially, if you're going to be camping near a body of water, there's almost always going to be mosquitos because the larvae hatch in the water.


You also need to bring bug spray that protects against, not just mosquitos, but all bugs because there's dangerous bugs like ticks.


Ticks can carry lime disease and so you need to get one of the bug sprays that protects against lots of different kinds of bugs.


Also, some of the National Parks do not approve of bringing aerosol cans, so make sure that is in one of the pump spray bottles and make sure that it protects against the other bugs, including ticks and make sure to bring your bug spray.


Next I am going to show you what is known as the backside fakie 180 also known as a half cab and contrary to the original backside 180 that I showed you that even I have a lot of difficulty with on the ground, this is much easier to perform.


What you are going to need to do for this trick is to be comfortable riding in the fakie position that I showed you earlier which is with your feet in the normal position that they would regularly be but you are riding backwards and with the fakie half cab the difference between this backside 180 and a regular one is on a fakie half cab you can see where you are spinning.


So same sort of things to keep in mind with the normal backside 180 is before you spin turn your upper body in the direction that you don't want to spin so you can get some momentum, start to ollie and as your foot flies up spin the rest of your body in the direction that you want to turn and you will be able to get the full 180 degrees.


And when you put it all together it looks a little something like this, but don't get frustrated when you are trying to do this trick because even I have trouble with the regular ones, it just takes a little time and practice.


Hi, I'm JK Dooley, I'm a professional artist, and today we're talking a little bit about giclee reproduction.


And now we're talking about canvas, and choosing canvas to have your prints done on.


So, there's a lot of options here, you can go a lot of different sizes, which means you can meet a lot of your customer's needs.


You can take custom orders, you can print an image perhaps that you've painted small, you can print it really big, and that's always kind of fun to do as well.


So, that's one of the really nice things about this process, is you can be very versatile when it comes to choosing sizes.


The nice thing about actually canvas and paper is there are really a lot of sizes that you can choose from.


As you can see, we've got three different sizes here, kind of small, medium, and large.


But, you're basically only limited by the size of your printer.


So there are printers, mine takes up to 42 inches wide.


So that means your piece can be pretty wide, by as long as the roll of canvas is.


There are printers that are up to 60 inches wide.


So, if you wanting to reproduce a large piece, this is a great way to do it.


And, probably apiece that large, you're definitely going to want to do on canvas, because it is more durable, and it will hold up better.


If you out there walking and burning a lot of calories.


So there is a whole bunch of different flavors and entries and deserts.


Some packaging you will notice are vacuum packed.


The purpose is behind that is if you?re going to some place of high altitude these will balloon out as you go up in altitude.


The air pressure inside the pack is grater than the air pressure out.


So that?s why they make ones that are vacuum packed.


Eggs you want to have ones that when you rehydrate I refer the ones that you can actually kind of scramble in a pan I think they taste better that the ones that you just rehydrate and eat the bag.


But you don't always have to go this rout there is also things at your local grocery store a Lipton's noodles and sauce Ramen noodles.


Freeze dried vegetables you could throw in there.


One thing that?s going to be on your mind is food.


There is a lot of different ways to do it.


You have just got to find the right way for you.


If you have any questions give your local outfitter a holler.


So you need to think about it and how light it?s going to be in your pack.


The days of packing out big huge tin cans of food are long gone.


If you thinking about bringing a can of Spam you need to think twice.


At an outfitter we carry freeze dried foods basically its a backpackers convenience T.V.


What you do is you heat water and you pour it in and it hydrates, rehydrates in the pouch.


You can actually eat it out of the pouch.


Today we're at Chapel Ledges in Ashfield, Massachusetts, Trustees of the Reservation Property and in this series I'm going to be talking about rock climbing gear.


Probably something like this, is going to be the easiest to use right off the bat and the thing you're going to choose first.


A belay device is a piece of equipment that's going to let you hang on to your end of the rope and keep your climbing buddy safe up on the cliff.


A wide variation of them out there these days, from the more old fashioned variety of the figure 8.


Loads up looking like this, clip the carabiner onto that, this device gives you a lot of flexibility in moving the rope, but not a whole lot of friction or assurance in catching a fall.


More common these days is a device that looks like this, generally speaking called an ATC type device.


There are a million brands out there, I believe this one is called the sheriff, but the function of it all the same, by the rope, in here, clip to the carabiner and this is going to cause enough friction to stop a fall.


It's a reliable, simple, easy to use device, good friction for catching falls.


What do you want to choose as a beginner?


We are preparing to fill in our trench that we cut into the concrete to install our drains and I have mixed up a bag of premixed concrete or cement and brought it in a bucket and now were going to fill in the hole.


When were getting ready to fill in this concrete into out trench the trench is only about three inches deep so we don't need a whole lot of concrete but I want to get it in there and make sure that I have got it filled in and now it doesn't have to completely plumb with or level with the floor because when we go to set our tile our mastic our glue that we use to set the tile will fill in any differences that we might have in the level of the floor.


You might notice that I have got this cardboard in here and the reason for that is that we don't want any concrete around our pee trap if we ever have to remove the pee trap.


We pull up the shower pan and the pee trap is assessable we wouldn't have to break out the concrete again.


We have mixed up a eighty pound bag of premix concrete out in the wheel barrel and mixed it the wheel barrel with a hoe and then because I didn't want to bring the wheel barrel in the house because it leaks I put the concrete in a five gallon bucket and brought it in and you can see I have filled in this much of the trench so far.


I was careful to get my concrete under my floor flange so that it holds the drain in place nice and solid and you notice that over here I have got card board damns set up.


I don't want any cement over the top of my pee trap if in the future we ever need to get back into this and remove the pee trap for whatever reason we want to have access to it so that?s why I have set up these damns.


The concrete will pour up against the damn on this side and I have got a little bit over there to fill in and then the floor will be ready for tile.


The other thing I have is it is not exactly level with the existing floor and I am not going to worry about that because when we go to set out tile our mastic will make up the difference in the floor level.


In these clips, we're going to talk about some of the tips and tricks in order to properly winterize your vehicle.


And how high the balls are floating will indicate the level of freeze protection you have.


Right now, the gauge is indicating, with none of the balls floating, that my antifreeze, or for demonstration purposes, I was using water, is going to freeze at 32 degrees Fahrenheit or 0 degree Celsius.


What will happen if your antifreeze freezes up inside your engine?


There are freeze plugs inside of it that will actually pop out and explode causing massive coolant leaks and things of that nature.


You can also crack your engine block due to the fact that coolant expands when it's frozen.


What I'm going to do now is test the antifreeze in the vehicle itself.


I will take the cap off. As you can see, it says "radiator coolant only". Coolant and antifreeze are the same thing.


I want to take a snorkel out of what I got on my overflow jug and test what's actually running in my system.


In this clip, we're going to talk about the amount of freeze protection your antifreeze happens to be carrying.


As you can see, all of the balls are floating.


And the very highest measurement I have for freeze protection is in the range of -40 degrees which means the vehicle can be driven almost anywhere on the planet.


You're going to want to make sure to test your antifreeze every winter.


This simple step and for the cost of the tool can save you, possibly, a horrible engine repair.


This is the proper way to test your antifreeze.


What I have here in this blue glass is water as you can see.


What I'm going to use is something called a hydrometer.


On the hydrometer is a scale which will measure at what temperature my antifreeze is going to freeze at.


Just for demonstration purposes, I'm going to suck up some water in here.


The number of balls floating is going to correspond with a gauge here on the tool itself written in black.


We're going to start at the top with -40 degrees.


The perfect push up can take place anywhere.


We're going to do it out here on the ground.


Don't touch the ground. Your head is looking down. Exhale and extend. Pressing through your palms back up. That's one rep. Inhale, down, exhale, up.


You're going to feel this in your triceps, the back of your arms.


Everything nice and tight and in through your chest.


Now with the outdoors, you might feel that you need to get hyped up and do a little bit more.


It?s going to be a little tougher but you can do it.


Now if you feel like you still want more of a challenge, bring your hands in, on your toes, and go out to the side, together.


And then to the other side and together.


But, hold tight, I'll show you some other variations.


First, make sure your arms are about shoulder width apart.


If you're an amateur hairstylist and you're looking to find a way how to clean off that nasty product off your curling iron, well I'm a professional so let's take it from me.


I'm Laura Gibson, beauty expert and I'm here to give you a few tips on how to clean your curling iron.


So, there you have it, just a few tips on how to stay clean.


There is always the easiest way which is after each use, you want to wait for it to cool down, because it's hot and you don't want to burn yourself.


As a stylist I can't tell you how many times I've actually burned myself, because I don't thing before I do.


So you just want to take it, wipe it down regularly.


But then there's some of us who get a little bit lazy and don't always wipe it down.


So we're going to go to our second part of how we would clean it which would be bringing in our back up, the oven cleaner.


All you would simply do is apply the oven cleaner with the clamp open.


Actually you're going to want to, you can hold it or you can wedge something, maybe a pencil perhaps in between the clamp and the rod.


Then all you want to do is apply the oven cleaner all over, take a paper towel, wipe it off and then take a damp rag or ordinary towel and get off any of the excess that you missed with your paper towel.


We--to be a sportswriter you're going to need a tape recorder, a notebook, a good supply of pens, a good supply of batteries to keep your tape recorder running, and then a laptop.


I can even remember telecopiers, and these were ways that--this is before e-mail even came along, I had been doing some of this work.


And there was no opportunity to send in a story or send information back and forth through e-mail.


So, it was through fax machines or telecopiers, and we've gotten completely rid of those kinds of things in terms of sharing information back and forth, or me getting an article into my newspaper.


So, it's just much more streamlined now.


It's faster, and we have definitely ridden the wave of technology in this business like everybody else has.


Most of us don't keep regular office hours.


In my case I work more from home, and I work more from the college here that I cover, than I do actually at the office.


So I don't carry a lot of stuff other than a satchel over my shoulder with a laptop and pens and notebooks and tape recorders, and that's basically the tools of the trade.


You're gathering information and you're sending it into your newspaper through your laptop, which you're probably going to need wireless capability on your laptop would be a big help.


Many of the press boxes that we work in have wireless signals, and that helps you transmit your story back to your newspaper.


It could be kept in one backpack or one satchel, and that's about it.


OK folks, in this clip I'm going to teach you how to draw a cartoon fly.


I'm going to come right down here in this corner and do it right here.


So that just creates the illusion of multiple eyes.


And we'll come out and start drawing the rest of his hulking body.


We'll make him sort of like, with his limbs kind of coming off like this.


They are definitely not the most popular insect.


So, we will start by drawing the rough shape of his head.


Just kind of make them jagged and ragged.


And then the way we'll draw his wings, seems to me flies sort of have distinct wing shapes, so what we'll do is we'll draw, we'll try to draw his wings as fly shaped as possible.


To really show that this is in fact a fly.


And they're sort of veiny and oddly connected.


So just kind of just get in there and draw some weird sort of connecting, veiny type lines to show that this is an ugly fly.


So I'm going to like leave room around the top for that.


And also in my mind, flies are not the nicest of creatures.


So we're going to make this guy kind of look a little monstrous.


First we'll add some detail to the eyes here.


We'll come in and we'll draw lines going across, just like this in both directions.


Because flies obviously have several, like I think it's like a hundred eyes or something like that on top of their heads.


And as I discussed earlier, the Pierrot part of it comes from this pointy clown like clown suit aspect of the garment.


The capelet part of it is because it's going to be set on top and go down the shoulders like a capelet.


What this is doing in the drawing is going to be a separate flouncy piece as the capelet, sewn to the garment here and then also done with a zipper.


That just creates something that has more design lines on it than anything else.


But the capelet part is not unattached anymore.


So technically this is what it's called but it's one whole piece of whatever it is, shirt that you're doing.


It just has several different variations.


Let's talk about a safety technique for ice fishing, and that involves what are called ice creepers.


When I got to the lake this morning I immediately looked around and said, "This looks like a skating rink.


Then when you walk, this will give you the stability that you need.


You don't slip, it grips very, very well, and it will keep you from getting injured or from damaging your equipment.


If I walk around with just my regular boots carrying all my gear, be it the auger or my tackle, there's a good chance that I'm going to slip, I'm going to hurt myself, maybe break some equipment."


This one is simply a more of an elastic strap that fits around your boot, and it hooks back to here.


Again, these sit on the bottom of your boot so that they come in contact with the ice and give you some stability.


There's another type which simply has a clip and a strap, and all you do is carefully put that over.


Make sure that the bottom of it is facing downward and then you just cinch it up as tight as you can, again making certain, as you can see, that it's on the bottom of your boot.


Today, we will be taking about beginning sabre fencing.


My arms and shoulder are relaxed, not locked.


Once again, slow beginning, easy and relaxed.


Later, I'll be talking a lot more about lunges but here I'll just give you a brief introduction.


While we know about moving like so, forward and backward, it's very important also to be able to make a lunge.


We're not going to want to get so close that we hit just with an advanced, we want to be able to start our attack from further away.


You remember I talked about who starts the attack first gets the point.


So, acceleration lines, I turn my arms slowly.


I begin extending them at 75% extension, the rest of my movement begins, and I've finished my extension.


Cleanliness is next to God in the prison system because you don't have a lot space and because there is a lot of confinement you can find yourself subject to different infections and diseases, illnesses that you may not necessarily come across so readily if you were out walking around in the streets everyday.


But they do provide you with a lot of cleaning supplies.


You can keep your environment very clean, it helps you, it helps your roommate, it helps the people around you and keeps the peace to a very great level.


It's a small space that you're living in, you've got to figure out different ways to do it, different ways to manipulate it so that you're not in violation of the rules of the institution or in violation of other people's space and it's not an easy thing to do.


In this clip I will be discussing the importance of understanding how to live in a dorm, a pod or a room setting in the prison system.


A lot of people have a misconcept about it, they think that people are sitting on cots behind bars and quiet usually that's not the case.


The county jail basically houses people in the forms of pods where they have several different rooms inside of the pods and you're living in a space that's extremely small without any storage.


Once you get to the state institution level or the prerelease central level, you may find yourself in a dorm style setting with a rows upon rows with steal bunk beds and the only space that is actually yours is that that exist between the two of your bed and the bed next to you and a lock box that slides underneath the bottom bunk.


That lock box is usually about 2 1/2 x 1 1/2 feet and it's about a foot deep.


So you've got to figure out a way to confine your living and all of the things that you own or possess in a very small environment.


Once you get to the prerealese level, you may be fortunate enough to stay in a room with maybe only 4 or 3 other people, a 4 man room total.


Under those circumstances you begin to realize that there are certain things you have to do in order to be comfortable and healthy as well.


In this clip we are going to talk to you about the common mistakes that players will make.


His first move, he is stepping out and then he runs.


He turns his upper body right away, he runs over.


He is going to be able to get there a lot earlier, and when you are there early, you have options.


That is very, very important right there.


Club players sometimes, even tournament players in their first move to the ball.


A lot of players will just shuffle to the ball, making them a lot slower and they do not get their rotation, and by the time they get to the ball they are playing catch-up.


See how he is shuffling to the ball, he cannot get in position, does not get his feet organized to the ball, and he is doing the crab walk.


So now we will show you what you want to do, as opposed to that.


The movement is that the first move has to be a step out, your right foot is going to come out of the forehand side, you are getting your rotation, and then you can officially run to the ball and not shuffle to the ball.


Alright, we've introduce forward rolling.


So you have to maintain and you have to be completely and totally aware that when you are forward rolling, hands are down, stand up, make sure that there's inner-abdominal strength and stability in this area.


So always roll, it's always a ball, it's always form and fashion of a ball.


So, now I mean it's not complex, but it doesn't feel very good when you mess it up.


Forward roll, you should come up to the exact same position you started at, for right now.


The principle of rolling is that of a ball, meaning you roll a ball.


Needless to say, on this the things you have to be very aware of is you have to be aware of where your hips are.


A very common issue, a very common problem that people encounter is that when they're rolling they have a tendency to lose that structure.


And to lose the inner-abdominal strength.


And so it causes the hip to flop, and you get a hip that lands hard or the feet fly out.


Things happen, people get hurt, you twist the back or something.


Those are the most common injuries to occur.


Now, let me show you how to add a little color to the windmill.


We're going to decorate the roof, we'll make a few decorations, but first we'll decorate the roof and we're going to use our match sticks again, the way we do is this is, we coat the top of the milk carton that angles down with glue, and we can either brush it on with a paint brush or we can have the kids, who are doing the project, if they want to just smear with their finger and while it's still wet.


We lay across the match sticks, we use a solid color, be kind of like a red tile roof, so we choose for this project all the red match sticks and we'll lay them across the top of the milk carton.


Using the solid color is recommended because we have a lot of colors on the arms of the windmill, so we don't want to make it too busy.


And the red, itself, also, gives a nice realistic touch to it that it looks, actually, like a roof.


So, the match sticks, actually, fit nicely across the top of the windmill, they don't have to fit exactly the same measurement as the top of the carton, but if you lay them across, if you double them up, even though they hang over a little bit, they still fit nicely onto the side of the milk carton, and we only have to do one side, the side, obviously, in the front, that's going to be seen, and we go all the way down to the bottom of where it angles, and starts going vertical again.


This is really just for decoration and it's not a necessary part of the project, obviously, if you want to paint directly onto the milk carton, different designs or different types of pictures, you could also do that.


So, here is our red tile roof for our windmill.


So, still working with the hand and working each finger individually is going to help benefit not only the hand itself and the bones and joints and muscles of the hand, but also again tapping into the connection with the thumb; the next finger to the collarbone; the pinkie to the heart; and the other three fingers that dive right directly into the shoulder socket.


So, you can move each finger independently of the others in a stretching fashion.


And I'm supporting from the underside with my thumb.


I have quite a bit of range in my hands because this is something that I do weekly if not almost daily.


Important is the thumb, right, because he's always in this position.


So this thenar muscle really needs to get a stretch.


And you can see, when you come out of these stretches, how red the hand gets because we're generating some good circulation.


Have you ever wondered on how often you should wear your night guard?


Well my name is Michelle and I'm a dental assistant with Solutionz and I'm here to explain to you on how often you should wear it.


Basically if you have been prescribed by your general dentist to wear a night guard because you tend to maybe grind your teeth at night, or to wear a night guard during the day while you're driving 'cause you get tense and you grind your teeth.


But that's something - wearing a night guard is something you definitely want to wear on a consistent basis every night.


It's pretty easy after you brush and floss your teeth before you go to bed, you just pop in your night guard, wear it for those eight hours or six hours of sleep that you're getting.


And then take it out in the morning, rinse it off, even maybe you know rinse it off with your toothbrush and toothpaste, to kind of keep it clean of that excess film that you might have left on it.


But if you've been prescribed by your general dentist to wear a night guard you definitely want to wear it every night on a regular basis because by doing so you're going to be training your actual jaw joints to kind of not become so tense.


You have to basically you're retraining those TMJ joints to kind of stay propped open and you're providing cushion for them, so the more that you can wear it the better it will be for you in the long run, but yes, every night definitely wear your night guard if you've been prescribed to wear it during driving, every time you get in the car, pop it in.


It's only going to be a benefit for you in the future.


Once again my name is Michelle and I'm a dental assistant with Solutionz, and I just explained to you on how often to wear your night guard.


Alright, so we've gone over two kinds of naps so far out of the basic upper body hitting type of naps and the third one we're going to go over is the team nap.


You can use this with punches but usually you use this with just slaps.


So what's going to happen instead of just Shaun or just me making the sound when the action happens, we're both going to do it together as part of the action.


So we're going to start off like we always do with making sure we have our distance, eye contact to let each other know that we're going to start the movement, then I'm going to wind up like this.


Shaun has his hand in place for me to hit it when I do, but he put it on his chest, he didn't put it near his face, he didn't put it out some crazy place, but he put it right there where it could be hidden from the audience and it will still be affective to make the sound.


So, like I said I'm going to wind up real big, start off real slow, slap and then Shaun's going to react accordingly.


So let's try that one more time, speed it up a little bit.


So, put your hand down, remember you don't start with it, so hands on the shoulder establish distance, eye contact, wind up and remember always follow through and until you're ready go only about 75%.


As you can see, we've gotten all the handrails completely stained, the spindles, everything down to the deck.


We have the house taped and papered off, over here down by the bottom.


And we're ready to stain the actual decking itself.


We're going to go ahead, we're going to cut in all the way along the side of the house one boards-length with a brush.


We're going to do the same on the opposite side of the deck by the spindles and handrails.


And then up here, on this end of the deck, you can see we've got some stain on the actual decking from the spindles.


And what we can do, we'll brush that in. But we'll do that as we go. And as we work our way across the deck, we'll brush that in there and blend that stain out so we've got an even color when we come in with our mop head.


And today, I'll be talking to you about developing your plot.


A play moves in a forward progression towards its ending.


People try different tactics to get what they want and strong objectives.


People are willing to die for whatever they want.


Its high stakes, the highest stakes you can possibly make or what would make a good drama.


And so, this is the chart that makes our course.


Also starting with the ending, moving backwards as a way to try to understand how to incorporate elements of foreshadowing, of setting things up and paying them off, of creating hooks and creating dramatic situations and this is the fundamental of plot.


So, during this series, we've gone over the plot.


You start at the beginning, we've established the status quo, just where everything starts in the beginning of the play.


Also, noting that the status quo is not the beginning of time, things will have happened before the status quo.


We've gone over the inciting incident, the thing that jumps starts the action of the play.


We've gone over the hook, the act one hook.


We've gone over the payoff in act two and how things are foreshadowed in act one.


And we've gone over the climax, the highest point of action in the play and the resolution leading to the end.


These are the elements of a plot of the play.


In this clip I'm going to talk to you about some other accessories that make turning a bowl on a lathe a much more pleasurable experience.


The first thing you might need is a compass.


It's nice to be able to use around areas or curves where a tape measure wouldn't fit.


The calipers are used to measure the wall thickness of your bowl.


When you turn a bowl, you want to make sure that your wall thickness is uniform all the way through because if, as you're roughing out a bowl and its green wood, if your wall thickness isn't uniform you're going to have cracking and the bowl blank will be useless.


This compass can draw a circle on a half a log up to three inches in diameter.


So it's not the same kind of compass that you might have used in grade school.


You do have to get this from a wood turning, or wood working specialty store.


It has a carbide chip scribe, which is used to scribe your circle, but I could replace this with a pencil or a pen if I wanted to.


Always very easy and very handy to have around.


Hello, my name is Jill Weiss, and I'm going to tell you a little bit about how to play shortstop.


First thing you want to remember, is that the shortstop is one of those positions, where you've got to be a lot of places.


The shortstop is one of those positions, where they are probably one of the strongest arms on the field.


They have to cross, throwing from shortstop, all the way to first base. They have to be agile. They have to be quick.


They've got to be moving on their feet, constantly moving, and constantly thinking two plays ahead.


Always, ok there's a runner on second, what am I going to do, if this ball is hit to me?


When you are fielding the ball, you always want to get in front of it.


Use two hands, if you have to, things like that.


You've got to be thinking all the time, and you could be covering second base.


Just remember, as a shortstop, that you've always got to be thinking.


My name is Jill Weiss, and those are just a few tips on how to be a shortstop.


You could be catching a fly ball, into the outfield.


You could be charging a slap, a bunt, but you've always got to be communicating.


Communicating with your second basemen, on who's covering.


Communicating with your third basemen, in case there's a steal.


Communicating with your catcher, communicating with your pitcher, things like that.


Now this wall here, which is actually a wall that covers up the entrance to the restrooms; this is the wall that we're going to be showing the painting from beginning to end for this particular filming.


So here, again, we're going to have a hilltop.


And I'll probably extend that all the way through the rest of the mural with an idea of trees.


So what you have is this very strong foreground with the tigers and the flowers and the tree, and again, all the flowers with the tiger.


I'm thinking I might put a baby tiger in here as well, so that it looks like mother and baby together and then the tree again.


And then everything else fades off into the distance.


So then we have the powerful images in the foreground: the two tigers, the baby tiger, all the hilltops covered wild, beautiful flowers, the two mango trees.


It's very strong in detail in the foreground, including the tiger here that we're going to use for this particular project.


And then everything else slowly fades out into the snowcapped mountains in the background and the blue, cloudy sky to give a feeling of depth.


Like whoever is eating in the restaurant will feel like they're looking out into the distance and into the mountains.


So this is, as I said, a very rough sketch.


The next thing that I will do is come up with a few more ideas, and then I will do another rough sketch which I will present to the owner for him to have a visual idea of what the whole thing is going to look like.


We're going to have another tiger sitting on this hilltop against rocks, and the water opening up into lakes behind him.


And then I will wait for his reaction to that.


So understand, at this point this is a very, very, very rough sketch.


I'm not looking for accuracy; I'm just looking for ideas.


So I've also now decided how to get rid of this corner in the wall.


I'm going to paint a tree coming up so it takes up the whole of that corner.


And then this tree will carry a fruit, probably mangoes.


I like the idea of mangoes, because mangoes are a fruit that honor the god Ganesha, the Indian elephant god.


And then I think I'm also going to take another tree up this corner, again with mango fruit hanging down from it.


So now we're going to talk about the zones, and there are three zones in handwriting.


The upper zone that represents these upper strokes.


The lower zone that represents the lower strokes, alright?


So what do they all mean the three zones?


Well, the middle zone, we're talking about the day to day aspects of life.


Everyday aspects of life, its social interactions.


Someone who has a middle zone that's very pronounced is someone who just gets on great with people and they're very kind of focused on the day to day activities and social interactions.


And the people who have a pronounced upper zone, that, the upper zone influences our mental thought and also our spirituality.


So there are people who are interested in thoughts, in spirituality, in mental processes, intellect, things like that.


The lower zone, that is all talking about material things.


The people who are interested in making money, eating, satisfying their material wants and needs and desires, things like that.


You've got the middle zone, the upper zone, and the lower zone.


OK, so when you're looking at a person's handwriting, you're just having a look to see which of these zones is most pronounced, or you might find that somebody has very even distribution of zones.


Or you might find that their upper or lower zone is very pronounced.


For example, you can have someone whose upper zone is so pronounced that you've maybe got a very high loop there, and that would be someone who's very spiritual, kind of head in the clouds.


Or similarly, if you have someone with a very pronounced lower loop is someone who's very interested in their physical drives.


OK, so for our next clip we're going to talk about the form of the writing.


And as you can see from Lou's it looks like his upper zone is fairly pronounced here.


I would say that the upper zone is the most pronounced.


And let me show you that in a little bit more detail.


So what happens is, of the three zones, you've got your middle here, you've got your upper and you've got your lower.


So if you were to write a word such as happy, that can show you all three of your zones. H-A-P-P-Y.


So as you can see the middle zone that represents the middle of the letter, right?


We're going to measure from the table in my case, I'm measuring the about the center of this slot right here which is in this case going to be 1 and 1/2 inch, an inch and 1/2, an inch and 1/2.


Yours might be different, yours might have holes in it in which case you want to measure up to the very center of your hole, transfer that measurement as I have already done on this piece of wood and that's an inch and a half and I've made an inch and a half line here and I want to give you a little tip about this, about making that line.


Usually a pencil will have a conical tip on it but what we want to do with our pencil is take a little piece of sandpaper and put the pencil flat on the sandpaper and rub it back and forth like that so we make a chisel point.


That's because a round point pencil will never quite fit right in here where you need to make your line.


If it has conical point that point of the led is always just a little bit away so when we make this line with our chisel point pencil the pencil fits right there and makes a nice smooth line.


We now have this line cut and so we know where the slot is going to go.


We are going to add a drip irrigation on this raised bed and the main reasons that most people put drip irrigation in is because they can put it on a timer and they don't have to worry about it.


Drip irrigation is important for a number of things and one of the main reasons is that it supplies an adequate moisture situation to a plant during the growing time without interruption.


You can't rely on the rain and also I think I mentioned before that a raised bed is cut off from the soil in such a way that it doesn't allow moisture to rise from below which happens a lot of times in a natural garden situation.


Even though it is dry on the surface, during the evening and at night, moisture will rise from below and your plants can get a little bit of that moisture.


Where in these beds if they don't come from the top or from artificial means, it ain't going to happen.


So drip irrigation is a serious consideration when it comes to raised beds or any kind of container garden because other wise you are going to be out there every day watering and a lot of people will miss it.


We are going to be showing buttonless installation which is a very targeted way of watering.


It allows you to put water exactly where you want it and then we are going to be demonstrating one that is more or a shotgun approach which broadcasts the water to a larger area.


Now of course the slab roller is the easier way to go, but not everybody owns that piece of equipment, so I'm going to show you how to make a nice slab of clay with just a rolling pin and your table.


Now my table here is covered in canvas, that way when I'm throwing the clay, it's not sticking, it gives it a nice surface to absorb a little bit of the water as well, if you're letting your clay set up.


Helps to, to clean off your knife first.


And you're just compressing the clay and smoothing the surface.


You did get some compression with that rolling pin, but this gives you just a little bit more.


And if you have a few ridges, that's okay because we're probably going to end up wiping those out in the next steps of the process.


So in order to make a nice big slab with the rolling pin, I'm going to stretch this out a little bit more.


I probably want to get it to be in the end a little bit more than a quarter of inch thick.


That's a good thickness to be sturdy enough to use and thick, you know thick enough to hold up.


So I've got it a little bit thicker than that right now.


I'm going to take my really big rolling pin here and I'm just going to kind of stretch that out a little bit more and make it nice and smooth.


Having a really wide rolling pin helps because then you're more likely to have the same thickness all the way across.


If you have a really thin rolling pin you're going to have to do it in a couple of different places and you might end up with ridges in the middle.


So once you've got it rolled out to about the thickness that you want you want to take some kind of drywall knife and smooth the surface.


We're going to show you some of the different techniques for applying vehicle graphics and decals.


At this time, I'm going to show you how to do the center hinge wet application method.


You want to pick the tape up, pull away the masking from the vinyl.


At which point, you'll come in and tear the protective backing off.


Take your application fluid, get it nice and wet.


Lay the vinyl back over and take your squeegee.


Firmly press the vinyl down to secure the area.


In doing this, this will take all the excess water out from underneath the masking tape.


Once you get this side down, you want to take the tape off the other side. Take the second piece of tape off that you used for your hinge.


Now that you have this side, this acts as your hinge.


You want to peel this tape off, apply your application fluid, and again always squeegee from the hinge or the tape line out.


First, before you actually apply it, you want to find the center mark of the roof of the are that you're going to mark.


Once you have it squeegeed, you can simply take your masking slowly peeling it way, keeping it as close to the masking as possible.


As you see here, I peeled the letter up because of the moisture underneath it.


Simply take your squeegee with the felt side and squeegee it back down.


Make sure you apply firm pressure across all of it, removing any water bubbles.


Now you have applied using the center hinge wet method application.


I measured from the top of the back of the window to a center mark, so it's centered where I want it.


Then you want to take your tape and make a mark.


You simply want to peel it off, thus making the hinge method.


With the hinge method, it's best to start from the side of the center line that you don't have any vinyl there on the tape.


Therefore, I'll start on this side with the 28.


Two important concepts that we're going to look at in the next lesson.


In our last lesson we looked at the importance of saying something as simple as I, let's take a leap, Spy, to point out that they're two separate words.


Another part of letters, words and spacing, because on every book, the illustrator may be somewhere different, the title may be somewhere different, and in some cases they may not even list an illustrator.


The most important part of this is to say let's start from the top. Ready To Read, Three Little Pigs, and there's a beautiful picture here.


Let's turn it over and see if we see anything on the back cover but in this particular book, Green Eggs and Ham is the title with the picture.


We're continually pointing out that words have spaces that are made up of letters.


We start from the top and work our way to the bottom.


Hi everyone, I'm Russ Handler, travel agent, and did you know if you're taking a trip via rail from New York to Niagara Falls it's just over seven hours?


About seven hours and twenty minutes in some cases.


There is snacks on board the train, and there's a lot of other information that you could learn in regard to this seven and a half hour trip.


It's going to be a lot of fun, you get to buy your tickets online, pick them up at your departure site, and it's just that simple.


I'm Russ Handler and that's how you do it.


So, it's a great, quick, and wonderful way to see our beautiful country.


I like to come here and go to their excellent website.


It not only shows me my New York to Niagara Falls map, and where I'm going to be stopping in between, but it'll also allow me to put in my selection of date and time and all the information in my itinerary, and quickly come up with the pricing.


Now it's also showing me here in this case that there are multiple departures.


Today I'm given you some gift ideas for Christmas gifts for your uncle.


It's actually a very personalized, very tailor gift.


I'm sure they come in a variety of price ranges.


The only thing you're going to need to remember to do is get his shoe size.


You can either ask your parents or your aunt if your uncle is married or you can just go ahead and buy what size you think he might wear.


Be sure to keep the receipt so he can exchange it but honestly I really don't think you can go wrong with something like this.


Now even if your uncle is so hard to shop for because he has everything or you just really don't know his taste, I really don't think that you can go wrong by getting him a pair of slippers.


Most people like to wear slippers and with it being Christmas, it's obviously going to be cooler weather so it's actually a nice gift to keep there feet nice and warm.


I give this new pair of slippers to every member of my family.


But this year when I was out shopping I actually found something that I haven't seen before and that's memory foam slippers.


So every time that you put your foot in it works very much like the memory foam pillows and mattresses.


It will actually remember your uncles in step and the shape of his foot and how we walks.


We talk about line having character and different qualities of line, and sort of the two, the basic division is really between diagrammatic line, and calligraphic or gestural line.


And diagrammatic line is line used to create a configuration, it's the kind of line you use to make a blueprint, it's an informative, an informational line.


You can get this with a brush or a pencil, you can get this with any medium.


But this is the character, and it's a much freer, more expressive kind of a line.


Escher used it, this whole drawing is created with line.


He uses the line, he uses the straight edge pretty much, to create these lines.


The whole drawing is created with these lines, and he's managed to give a feeling because he's using all these very straight lines with rulers, he's giving you the sense of a universe that is very controlled and very predictable, at the same time that he's challenging you by making these people go in, staircases that are going down into nowhere and up into nowhere and the whole space is basically undogmatic.


The other thing that diagrammatic lines can do is they can create different shadows.


And you can see here he created a dark versus a light and that has to do with how close the lines are together and how thick they are.


He uses very thin lines where it's very light, he uses very thick lines where it's dark.


That's compared to, this would be using a calligraphic or gestural line, and you can see, it's much more free-flowing.


CINDY MASTRY: In this clip, Faith is going to help me demonstrate how you can take the standing split bow variation of the standing split to an even more advance pose.


So using the blocks, that's going to help her be able to balance more easily and elevate the floor a little bit higher so it can take out any problems she might have with tight hamstrings or a tight low spine.


She's going to bend her knee and bring her heel back in close to her body, giving her a really great, nice quad stretch.


She's going to engage her core and ground right through her foot, engage her glute and reach back and grab onto her foot.


So she needs to focus and breathe, maybe even come through a little arch in the spine as she presses her hand right down into the earth and lengthens up with her foot.


And that's a beautiful, advance split bow variation.


She's going to inhale and extend her arms up to the sky into a beautiful mountain pose.


Pressing into her feet, she's going to lengthen up and then fold forward.


That's going to give her a little stability.


And then she's going to lengthen that leg up to the sky.


Today I'll be showing you how to remove your old doorknob, and replace it with a new one.


Now the tools you'll need for this project are a flat head screwdriver for removing the latch bolt, strike plate, and spindle, and you want to make sure it's really thin so that it doesn't damage the side of your door, for those of you who are particular about it.


A Phillips screwdriver, for removing the bolts on the doorknob and you don't have to have it, but an electric drill would help, because it can remove the bolts much faster than you would be able to with this.


Now also, of course, you'll need a new doorknob, which can be any doorknob of your choice; can have a lock on both sides, a lock on one side, and the doorknob should come with new hardware, a new latch bolt, and the strike plate, and the spindle, and any necessary collars to complete the installation.


When you trim your toenails your going to want to use a toenail clipper and coarse emery board.


I use a coarse one because the toenails are a lot thicker then your finger nails so you are going to want to use a coarse one on your toenails.


You simply start with the toenail clippers close it just comes it and you just flip it around and start trimming to your desire length.


After you have trim all these toenails to the length that you want them then you could get rid of the rough edges by simply shaping the nail.


Usually when you get a French pedicure you usually leave the shape rather square if you just want really short toenails and no color or with color you could do them round and even a little bit shorter then you would if you where going to get a French pedicure.


That is completed and then we would just continue on and do the same thing on the other foot.


Today, we're going to talk about renting photographic equipment.


And usually, the day rate can be anywhere from 20 dollars upwards to 500, maybe even 1,000 dollars for a high-end piece of equipment.


The biggest part about renting something that is really detrimental to it is that you have to put down a deposit.


Now, no camera store owner, in his right mind or her right mind, is going to let you walk out of their camera store with a 5,000 dollar camera without a credit card or a pretty large deposit.


So I know when I first started out, I wanted to make sure that I had that much money on my credit card because they might charge you for that camera.


They might charge a few thousand dollars, and then you'll get that back on your credit card.


Now, if you're working on a budget, this is something that you really have to take seriously because when you leave that camera store, if you had that money on your credit card, you might not have it when you leave, and that is a mistake I've personally made and I've seen some other professionals make.


The one thing about renting equipment that is an excellent opportunity for any photographer, being a professional or an amateur or someone just getting into it, is that you don't have to purchase the equipment you're renting.


We all know that photography equipment is pretty expensive.


So by renting it, you get a chance to see if you even like this equipment.


Do you like this camera? And, you know, I give...I try to tip my students off to renting something before they buy it.


So, in some ways, that's actually going to...going to work for you.


When you have to rent a camera for a job -- let's say, you are a professional photographer or someone just starting out in the photography market -- you want to make sure that you call the camera store to make sure they have your piece of equipment.


Most camera stores have a website where they list the equipment they have, and then they list the rate for that equipment.


Hello I'm Sifu Mallon with the Clearwater Kung Fu Center.


This is my assistant Melissa and this Kickboxing.


So elbows are loose, shoulders are relax, right, and chin dips forward slightly.


Now from here, she's going to advance forward with her left foot and throw a left jab out.


Hold it there a few hold after you throw it out.


Okay, now if we're looking straight on to the target, we want to actually bring our punch, okay, so that it's inside your shoulder range.


So if you look at the body as a triangle this way, we're pointing, punching toward the center of the body.


The forward leg, if you're looking, right, the foot is flat and the weight is on the inside of the foot, not allowing the weight go to the outside so that you're lifting your toe, you're unstable at that point.


If we're not punching anything especially in beginning phases, we want to maintain your elbow, okay, in neutral.


This means we're not going to lock the elbow out when we throw the punch.


This is going to be straight but not lock.


So this is lock and that's what we want, a little relax.


"And Melissa go ahead and fire off a few repetitions of the jab.


The punches, okay, we're going to be using, okay, our kickboxing punches.


So we have several different punches we'll cover.


The first set is going to be our Straight Jab, meaning if I have my left foot in front, I'm using my left hand, okay and throwing a straight punch in front of the body.


I have Melissa demonstrate this slow so I can point out some of the finer details of it.


So she begins from her stance, both feet point the same general direction.


Our hands are up in our high guard position.


But let me tell you how many people try to impersonate him?


[START SONG] [SOUNDS LIKE]I got you [SOUNDS LIKE] I don't want to leave before [INDISCERNIBLE].


It is his own interpretation of his own emotion.


That's why now, many people are looking--"Oh, man, you're bad brother!" "Oh, go ahead. Oh. Oh." And he's got.... And you know Michael Jackson, he looks at--what's his name?


ALEX BOYE: He looks at him, Michael Jackson, "Oh, you're bad, brother.


You're bad. I love you. Can I do a duet with you?" Why? It's not because he can dance, it is because he has so much confidence that he doesn't care and it makes it look like he's absolutely amazing as a dancer on stage.


One of the biggest things--one of the biggest ways you can gain stage presence, I'm going to tell you right now, okay, there's nothing else you need to know.


We're going to talk about a little bit more about that on the other side later.


If you want someone to say that guy or that girl has amazing stage presence, all you have to do is have confidence.


I'm telling you, confidence hides a multitude of sins.


If you sing off key and you're confident, everyone thinks you're U2 from Bono.


If you--seriously, if you can't dance good and you do it with confidence, then they think you're that guy from Aerosmith.


In this clip, we are going to be turning our bag right side out and making buttonholes along the two seams so we can use those to loop through our drawstring.


Go to the other seam and measure down 1 1/4 inches.


Put in your pin and then another pin 1/4 inch down from there.


We are just doing a really small buttonhole because this rattail we are going to use to slip through is very thin.


Make sure they both measure up and I also like to fold them together.


The measurement is off just a little bit and I will fix that.


We are going to do a four-step buttonhole.


Switch out to your buttonhole foot, which looks like this.


Line up your fabric in the very center and to the top.


Put it on the first step of the botton hole.


Four step button holes will have a picture, sometimes its arrow or sometimes its number or sometimes it's labled A, B, C, D.


At the very top you want to figure out where you want to put your botton holes.


What we are going to be doing is folding the top over and making a little casing the ribbon will slip through.


Fold it over about 3/4 of inch and turn to the right side of the bag.


Place a pin about 1/4 inch down and then 1/4 inch down from that pin is where we will be doing the button hole.


Make sure once you fold over for the casing, you won't have anything sticking out.


Hi my name is Dean Hale and today I'm going to give you a general overview of how to play the American classic, poker.


Now different people think of poker as different games.


So it's two cards the same number and another two cards of the same number, that's two pair.


The next after that would be three of a kind or what some people call a set.


A set would simply be three cards of the same number in your hand.


After three of a kind would be a straight.


A straight is any five cards in sequential order of different suits.


After a straight you would have a flush.


A flush is five cards of the same suit whether it be hearts, diamonds, spades or clubs in a non-sequential order.


After a flush, the next highest hand value would be called a full house or what some poker players refer to as a boat.


And that is simply three cards of the same number and then two cards of the same number.


So for instance the best full house you could have would be three aces and two kings, that would be called aces over kings.


Today Texas hold 'em is probably the most popular game that people think of when they play poker.


After a full house you would have four of a kind, simply as it states, you have four cards of the same number.


The two hands that beat four of a kind would be a straight flush or a royal flush.


A royal flush is ten, jack, queen, king, ace in order of the same suit and that is the best hand in poker.