Covering science: The history of Nature’s front page

Covering science: The history of Nature’s front page


It’s been 150 years since the first
edition of Nature was published in 1869. In that time the science contained
inside the journal has changed a lot but so has the front cover. I’m Kelly Krause
Creative Director of Nature and I’ve come to the Nature archives to discover
some front covers from Nature’s long history, and to see how the design of the
magazine has changed over the years. Wow Right well we have all the Nature right
from the first issue on the 4th of November 1869 right up to the
present-day. So I’m interested in looking at the covers over time and how they’ve
changed from being mostly advertisements on the cover to being very rich with
imagery. Part of my job at Nature is to design the cover each week. But when the
journal first started the front cover was completely different to anything we’d
do today. In fact for nearly 100 years the front page was just used for
advertising. You’ve got this which is more like announcements about
events more and then you get the instruments that come on the front. This is one of my
favorite covers from this era an advertisement for buying rock and fossil
collections, and there’s one here for a sunshine recorder. It really shows how
for a long time science was in many ways a hobby or a gentleman’s pursuit. Looking
through the archived volumes we eventually found some covers with actual
science on them, but not until the 1960s, and even then it was still only text at
that point. It wasn’t until a few years later that we started seeing figures and
black-and-white photography. It’s so interesting that in this cover in 1967
the only hint content is this, the text here that says “Structure of Jupiter” and
then by 1974 we finally moved to actually visualizing the content as the
main event on the cover. Finally as we flicked through the books we started
seeing not just black and white but full-color images filling the pages and
I particularly appreciated the very of their time gradients that became
popular. So this is in the mid-80s when gradients are really just kind of
starting. You know, gradients, cutouts, these covers were still being physically put
together with tape. Before desktop publishing all of these designs had to
be made on paper. Photos were cut out and pasted down and gradients were made by
airbrushing with paint. After being taped together the final
cover was essentially photographed and the photograph sent to print. By the 90s Nature had embraced desktop publishing doing most of the work on computers
using software like Photoshop. There’s a lot more stuff you can do with an image
once it’s digital although some tweaks are a little more obvious in hindsight. And this is a classic from the beginning of the desktop publishing era and this
one is one of my particular favorites because it shows a bit of Photoshop
malfeasance. This is in 1997 and this is Dolly the sheep and this cover is
amazing because it really speaks volumes about the era in which it was made.
If you look closely Dolly you’ll see that this foot here looks a bit
strange, and the reason is is because that’s actually not Dolly’s foot at all
this was cut out in Photoshop and if you look at the original picture you’ll see
that it’s Dolly’s mother standing behind it became fashionable to do these sort
of cutouts that were more intricate than can be done in paste-up so in this she
has a foot that’s not her own which is fantastic. When I joined Nature I was
given the opportunity to refine the cover design for the modern digital era.
This meant aligning our print and web design but also as Nature’s first
creative director making sure that all covers were evaluated for their artistic
merit, as well as the scientific value of the research they showed. I started at Nature in 2011 so I’m just looking at some things from that era and I’ve
landed on actually one of my favorite covers from the very beginning when I
started, which is looking at insect wings. I remember the authors of the paper
submitted about 20 different insects and this particular one caught my eye
because it was so unusual. I think it is a beautiful photograph but it also says
a lot about the era you know it’s still a Photoshop cutout but it’s meant to
look much more natural like it’s in a studio, it’s meant to give you the sense
that you’re just looking at the object without any decoration really. What they don’t yet have here in the archives of course is our latest cover for Nature’s
one hundred and fiftieth anniversary we’ve collaborated with a team of
network scientists to produce a graphic representation of almost every paper
Nature has published since 1900 and I think it’s pretty amazing having visited
the archives and seen the bound volumes of these papers to then see them
represented like this on the cover. And this cover isn’t just a static image, we
have also made a video to show the links between some of the most important
papers in Nature’s history, and an interactive experience so anyone can
look through the model and navigate their own way between different points.
So this is much more than just a print cover. I think it’s a great way to
mark our anniversary. But perhaps in a hundred and fifty years
some future Creative Director of Nature will be here in the archives looking
over our interactive cover and commenting on how it’s very retro and
representative of its time.

Magazine Cover Redesign: Student Feedback

Magazine Cover Redesign: Student Feedback


well hey good morning everybody how you
doing and it’s a beautiful really sunny Brighton one day no Sun didn’t know it so good
so this coffee mug actually I’ve been drinking out of almost every morning for
the last 12 years or so this was a gift actually from an exchange student from
the Czech Republic and I love this thing I was kind of short night to head to
wake up bright and early to run my rig to the mechanic to get some work done on
the brakes and early making some tutorials
it’s a beautiful crazy sunny day here in Montana and for today’s tutorial what I
want to do is actually more of a Q&A so I’ve got a bunch of students in a
membership group you can check it out at Doug Mitchell calm and she sent me a
message on slack with magazine cover she’s working on – want some feedback so
what we’re gonna do is take a look at this magazine cover and look at some
ways that it’s working well and look at how I would approach the design myself
as well as some things that we could do to improve this overall so we’re gonna
go ahead and dive in alright so let’s go and take a look at this so here is the
cover that she sent and it’s a great start there’s a lot of things that I
think are working well and there’s also some things that we’re gonna definitely
want to improve on so we’re just gonna start top-down and the first thing that
I notice is there’s three things that are competing for your visual attention
the first is the masthead across the top the fatherly logo or what we call the
masthead and we’ve got that in red letters bold at the top then one thing
you wouldn’t really think about but this architecture this building here is very
unique and because of its size it’s really commanding a lot of attention on
the page and then we have the father and son here down below now as you probably
know anytime you have a purse or you know a face on the cover of
anything as humans our eyes tend to get drawn towards their faces we’re trying
to read into their eyes and trying to decipher as much information as we can
from the photo so we’ve got this big red text this big building and then we’ve
got faces all competing for your first attention so what’s a little bit
confusing with this cover is when we zoom in close and look at this thing you
can tell that it’s obviously been kind of cut out and placed in this image so
what I would do is make it much bigger and so let’s go ahead and look at some
other magazine covers for inspiration or jump up here in the Safari we got some
magazine covers all right so if we look at these there’s really a couple
approaches one is you’ve got some covers where the masthead goes above the image
and is always above the image like Time magazine down here always has the time
logo over the forehead of the people on the cover and you’ve got some magazines
here like Forbes where you have this cutout where the head pops in front of
it actually here’s one more time did that as well so it just kind of depends
on the look you’re going for but by doing something like that you’ll notice
most of these images are substantially larger on the cover and not quite so
small down here in the bottom okay so that’s one thing I would do is I’d bring
up the the main image much larger now to do that this image looks kind of grainy
so you definitely want to start with a good image to begin with now this is the
cover so you should be able to find high quality photos for the cover of whatever
you’re doing if you don’t have one you need to make sure you get one because
it’s the first impression you’re dealing with so what I’m gonna do is go ahead
and let’s just make a new I’m just gonna build over the top of this one so this
is just an image I brought into Photoshop so we’re just gonna build over
the top and let’s just pretend like let’s start with a better image so I’m
gonna come back here and I already did a search for father and son here at pixels
comm this is a good one we’ll explore where I’m just gonna download this one
we’ll do that and let me scroll down a little bit here’s another good one this
one’s awesome that’s got some character he’s smiling they’re having fun that’s
another thing too like what is the facial what is the story telling you on
the face what’s the facial expression so that’s really important as well the nice
thing about this one were their backs are to us
it makes it a little more ambiguous to where it could be anybody it might be
more relational to somebody as far as your your target demographic is able to
relate to that person let’s go ahead and scroll through here just a little bit
more now what I’m looking for here’s a good one although his eyes are kind of
closed it’s a little blurry let’s find another one here what I’m looking for
now is so the one that we have here it’s it’s a little more they’re side-by-side
the one that I downloaded they’re stacked vertical so that actually could
be good for the layout of this magazine let’s just see here we’ve got these two
you know we’ll go ahead and work with these for now all right so first things
first let’s go ahead and drag these images in here just to get them started
it’ll scale it up all right all right so we got that one in here and I’m just
gonna bring the other one in while we’re at it all right so you got some some
really good photos to work with now this one already works really well it’s got
some nice negative space around the edges where I could drop it in some text
and the one below it actually same thing it’s nice and dark and I actually like
this one better because the trees behind it have some darker and the areas that
we can drop some text in over the top this one is nice but there’s some really
hot spots down here where it’s kind of blown out so I would either want to
maybe cut him out or select it and darken the background but if we’re
trying to work with just a photo this one might get us there better so we’ve
got that now the next thing I want to look at is just the amount of fonts we
have on here so we’ve got a sans serif font up here we’ve got the main masthead
which is another font so there’s two fonts this one looks like it’s different
than this one so we’re gonna call it three fonts so we’ve got all these and
then we’ve got this font here four so it’s pretty busy with fonts so we want
to try and narrow that down and make sure that we only have you know two
three fonts max to try and keep it from being too busy the next thing that I see
is we’ve got this lowercase turned out right tracked out and so for me I would
typically try and keep your your lowercase letters with regular kerning
or tracking because we don’t want it to don’t know it just for me it just feels
like everything’s really stretched-out so let’s go ahead and pay
it this a little bit more all right so for the sake of working fast what I’m
gonna do is actually select the fatherly text let’s go ahead and sample this
color I’m actually the magic wand tool and I want to sample I’m gonna turn off
contiguous what that means is it’s any color that it sees in this entire layer
it doesn’t have to be touching all right so I’m gonna click on that and now
pretty much just the fatherly text is selected with a little bit down here in
this Jersey so now I’m going to hit the letter M to get my rectangular marquee
and hold on the option key to click and array you to remove the selection from
here so now I have just the fatherly text I’ve got a new blank layer up here
and I’m gonna hit the letter I to get my eyedropper tool and we’re gonna sample
this color oh I got a Ben right layer here we go I went back to all layers
sample that layer now we’ve got that maroon burgundy color and I’m going to
turn off this layer behind it just to make sure I’ve got other selections
cleaned up here we’ve got some extra pixels here so we’re just gonna remove
that for my selection hit option delete to fill with my foreground color and now
I’ve got this fatherly text right on top I know it’s it’s we’re working fast and
loose here but so now we’ve got this that we can work with and let’s go ahead
and bring in that image that we were gonna play with here I’ll drop this in
scale it up and maybe even crop quite a bit here throw this behind the masthead
now you’re gonna have to decide on as far as the text here it’s difficult to
see so if your publication always has the same color you might have to change
how you work with things but what I’m gonna do is it actually changes to be
white so I’m going to lock the pixels on this layer what that does is now I can
fill this with a foreground color of white option delete and it’s gonna fill
just any pixel data so by locking this right here it’s gonna lock transparent
pixels so that way you can’t fill anything that’s transparent I hope that
makes sense it’s a really great shortcut you can use for just about anything all
right so we got that there now I’m gonna throw a mask on this layer and let’s see
how Photoshop does I’m gonna actually try
going to select and we’re gonna go to select subject and just see how
Photoshop does if it can see this photo it does a pretty stinking good job so
we’re gonna go ahead and run with that selection and maybe clean it up a tiny
bit I made the letter Q to get my quick mask tool going hit let her be to get my
brush and let’s make sure we’re painting with a nice soft brush here we are
alright and I’m just gonna clean this up quick we don’t want to get too crazy
with our selection just right now just trying to get through this tutorial
let’s see here and actually I don’t even need to make sure that I only need to
make sure that this selection up here is good so let’s turn the quick mask mode
back off real quick and selecting hair especially on this background can get
real tricky so let’s turn this off and just kind of take a look at this you
know let’s go ahead and I’m just gonna add to the selection with my lasso tool
just to kind of get it a little bit better here get it close at least
alright just cleaning things up and I’m not too worried in this in this case
here’s the deal we’re just trying to make it mask behind the letters here so
realistically all I need to make sure that’s good is right where he would pop
in front of these letters so I don’t need to worry too much about the
selection but what I’m gonna do is come up here with my selection like my lasso
tool selected and click select and mask and now what I can do is paint over with
my refine brush let’s see a selection tool the refine edge brush and we’re
just going to try and let Photoshop work its magic here and we’re just trying to make it look
realistic right where those letters are so I’m not gonna get too picky about the
rest of this but we’re kind of getting it close just trying to make Photoshop
do most of the little heavy lifting here we’ll click okay I’ll call it good for
now and now I’m gonna do is jump cut this selection to a new layer actually
and I can bring this text behind that of the layer I should have worked with a
mask but I’m just I’m just trying to go fast here guys so what we’re gonna do is
just take a look at that and that actually did a pretty stinkin good job
of knocking that behind the text and what I like about this is it just creeps
up just a little bit beyond the letters but you can still read most of the text
it’s cropped well he’s looking into the letters here and it really engages the
viewer all right so now I’m gonna do is let’s just go ahead and look at the
original real quick and you can see that we’ve got a lot of different stories and
we could easily feature all of them but what I’m gonna do is just grab a couple
of them so we are parenting 101 and maybe we’ll just kind of play with some
sizing here and we’re just gonna do a regular sans-serif just I don’t know
we’ll figure something out here now instead of leaving this I’m just
going to make this all caps I’m going to cut this command X to cut
it drag down a copy of this text the reason why I’m doing this is because I
want to be able to have be able to quickly grab and select these so let’s
drop this down here I want a little more space on the
right-hand side here so I’m gonna do is select we’ve got this layer sitting on
top I’m gonna select this one and the original image below it and we’re just
gonna drag it over a little bit which is nice that we’ve got the selection and
the two layers sitting on top because now we can just move it and it’s gonna
knock out those letters wherever we drop it so I’m thinking we’re gonna scoot it
over just a little bit so that way we’ve got the left edge just barely you know
touching over here we’ve got a little bit of margin a little bit of space but
that gave me more space down the right-hand side to kind of work with
this here so let’s go and again I like to break my text into a couple layers
because then I can really refine my edges or find my edges refine my type in
a way that feels a little more natural just to grab whichever one that I want
and scale it into place without having to try and mess the whole line at a time
all right hope that makes sense guys it’s not even 7:00 yet I am I’m needing
more coffee here all right there we go that’s looking good that’s better that’s
cool all right so I like how this works fits in this gap here parenting 101
let’s see what else could we grab let’s go back to the original cover kids
mental health signs to look out for alright let’s drop that in here sorry we’re using the same font but I’m
gonna change so within the font family we’ve got some different weight so I’m
gonna change this to regular just to kind of change this up a bit but still
keep it within the same font family and I’m playing with the guide down the
right-hand side here the alignment just to make this all look like it belongs
together and maybe let’s add one more story to this so bond over sports fun
activities to do through kids so bond over sports is nice in this magazine
cover because we’ve actually got some sports happening here in the background
but in the image that I threw on this cover obviously there’s no sports but it
looks like they’re having a fun activity so what we’re gonna do is grab fun
activities to do with your kids and I’m just going to clone this all right so let’s see how this lines up
here all right I’m going to align this to the right kind of getting that flush
right design layout here and I’m gonna call that good for the sake of this
tutorial so actually it’s cancel that there all right so that is what we ended
up with for the design now what I want to point out here on this compared to
the original let’s go ahead and pull up the original real quick so again with
the original we had a lot of stuff going on we got some you know the colors this
yellow stands out but it doesn’t really borrow any color from the photo we’ve
got this maroon color on the top we’ve got this you know kind of a lot going on
and I think that it’s important to remember that you can really simplify
things and break it down to the base you know the very basics in this case
all of my fonts are white all my text is white and I’m really letting the image
pop through on this now I could if I wanted to maybe sample some color so for
example I see we’ve got this kids shorts you know maybe we try and borrow that
color let’s just see if it works if I sample from the image that’s not bad
so by sampling a color directly from the image it helps it tie in it gives you a
little bit of something to work with but everything still feels like it belongs
together and and makes it feel cohesive and and on purpose with this other cover
I feel like there’s you know I don’t see anywhere else in the image where this
yellow color comes from and it kind of it just kind of feels like there’s a lot
going on so I hope that helps you know overall really great approach just just
tightening up some things like those fonts and keeping everything literally
we have two fonts we’ve got the masthead and then we’ve got this main font here
in open sans we’re just using bold and I think we’re using light here just to to
make it stand out a little bit and that’s everything like that’s all we did
kept it really really simple I hope that helps I know a little bit scattered
today I’ve got some flies flying around my office I’ve got the Sun in my eyes
barely had any coffee yet but it’s really important to me to try
and get back to you to the students who are asking me those questions in that QA
don’t forget to check out the website at Derek Mitchell comm where you can check
out that vault membership if you want to join in and want to be able to get
direct access to me and be able to ask questions like this where I can get back
to you and don’t forget if you liked the video hit the like button down below
subscribe tap the bell all the things and stay
tuned for the next tutorial so tired

Oppo Reno 3 – NO POP UP CAMERA!!!

Oppo Reno 3 – NO POP UP CAMERA!!!


Hey, guys Hash here from Hash tech. After announcing oppo reno 2 successful. oppo now set to tease the oppo reno 3. Yesterday Oppo VP Brian Shen shared an image
of the Oppo Reno 3 Pro 5G. which also reveals a curved edge display with a minimalistic
bezel on the top. Also, there’s no sign of a notch or even
punch-hole. As from the post, oppo still use the pop-up
camera on oppo reno 3 pro and standard reno 3 will have a punch-hole design. However, this teaser suggests that the pop-up
camera will make a comeback on oppo reno 3 pro, but will better than oppo reno 2 series. But still, we can’t predict because image
cropped on the left side, meaning it could have a corner hole-punch camera like the Samsung
Galaxy S10. According to Shen, it will feature a glass
body with a thickness of 7mm. Also, available with the 5G network in China
and don’t know about the global version. Because most of the Chinese makers nowadays
using 5G for Chinese variant. even Huawei V30 series, Redmi k30 series, and Huawei nova
6 series. Anyway, we want to wait some days for getting
new updates. After we will get more information. Another interesting update from the oppo subbrand
realme. Now realme is the fastest-growing smartphone
brand with announcing new flagship at an affordable price. But according to some reports, Realme no longer
an Oppo subsidiary, but a new independent company in the BBK group. As we all know the bbk group is the parent
company of Oppo, Vivo, oneplus and also now realme. According to Chief Commercial Officer at Realme
Taiwan, Realme will “build up its own ecosystem and production lines,”. So Let me know your thoughts about oppo reno
3 and realme in the comment box. I will see all tomorrow make sure subscribe
to this channel for more updates about the smartphones, and also Don’t forget to hit
that notifying bell icon. Thank you for watching it. I am Ashkar from hash tech

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover

Photoshop Tutorial: How to Make a Vintage, Pulp Fiction Magazine Cover


Hi. This is Marty from Blue Lightning TV. I’m going to show you how to recreate a
pulp fiction magazine cover from the 1950s. I provided a
Photoshop template that you can download, so you can follow along. Its link is located in the video description or project files. In addition, I provided
links to all the fonts that we’ll be using in this tutorial. If you’re not sure how to install fonts,
watch my tutorial on how to do this. I provided that link, as well.
Click on the down arrow to open the elements of the template.
It includes the outside shape of the cover, the worn creases texture, the logo of the publisher
and the price of the magazine. I’ll temporarily hide the template folder and close it. Make the Base visible and active. Let’s zoom out of the document. If you’re using Windows, press Ctrl and the minus sign.
If you’re using a Mac, press Cmd and the minus sign. Open your Pen Tool and choose Path. If you’re on CS5 or earlier, the Path Tool is here.
Go near the top corner and left-click. Continue to click around
the outside creating a wider shape at the bottom-right and narrower shape at top-left.
Go back to the first point and when you see a small circle, left-click to close the path. Place your cursor on the path and right-click. Choose “Make Selection”. The Feather Radius is zero. Then, click OK. Press “Q” to make the selection into a quickmask.
Go to Filter, Blur and Gaussian Blur. Blur it 50 pixels and click OK. Press “Q” again to revert it back into a selection.
Click on your foreground color and type in 0 C 1 F 5 3. Then, click OK or press Enter or Return. Fill the
selection with the foreground color by pressing Alt or Option + Delete. Then, delete the selection by pressing Ctrl or Cmd + D. To view your document at 100%, press Ctrl or Cmd + 1. Click on the New Layer icon to make a new layer. We’ll fill it with black. To do this, go to Edit and Fill. Click on the arrow and choose Black. Then, click OK. Go to Filter, Render and Clouds. Change the Blend Mode to “Color Dodge”. If your image has a bright area like this, the end result will look better if it’s
replaced with other areas. To do this, we’ll use the “Clone Stamp Tool”. Choose a medium-size and a Hardness of 0%. Make the Opacity 50%. Go to another area and press Alt on Windows
or Option on a Mac and left-click
to pick up that area of your image. Then, brush over the bright area.
Merge these two layers by pressing Ctrl or Cmd + E.
We’re ready to add text. Open your Horizontal Type Tool and click “True Crimes”,
which is one of the fonts I provided. Choose a font size of 50 points, Sharp and Center Alignment. Click on the color box and pick White. Then, click OK. Type out the title of your story. To adjust the space between your lines
of text, highlight the lines and go to Window and Character. The Character panel will open. Click over the “Leading” icon
and drag your cursor to the left or right to bring the lines of text closer or
further apart. To make a word larger or smaller,
highlight the word and increase or decrease its point size. I’ll do the same for the bottom word. To adjust the space or “kerning” between
two characters, click between the characters
and press and hold Alt or Option,
as you press the right or left arrows. Continue to adjust the kerning
and leading of your title until you’re happy. Next, we’ll add a stroke and a drop shadow. Click the thumbnail of the text layer
and click the “fx” icon. Choose “Stroke”. Make the Size: 6 pixels and the Position: Outside. Click Drop Shadow. Make the Opacity: 50%…the Distance: 36 pixels and the Size: 2 pixels. Then, click OK. Next, we’ll re-position and angle it
using the Transform Tool. Press Ctrl or Cmd + T. To reposition it, click inside and move it. Go to the middle on the right side
of the Transform. Press and hold Ctrl + Shift + Alt on Windows or Cmd + Shift + Option on a Mac and
when you see a vertical, double-arrow, drag it up until you’re happy with the angle. Then, press Enter or Return. If you want
to change the color of your text, click on the color box and pick a color. I’ll type in F F D 800. Then, click OK or press Enter or Return. Let’s make the template folder visible
to make sure our title is positioned where we want it. I’ll move it up to make room for the rest of
the elements. To move your text,
press “v” on your keyboard. Next, we’ll add a name for the author. Press “T” to open your Type Tool
and click on your document. Choose a font. I’m using “Brush Script Standard”, which I provided its link to. I’ll make the Size: 16 points, Left Alignment and the Color is White. Type out a name for the author. To re-position it, open your Move Tool and move it. To angle it, open your Transform Tool, go to a corner and when you see a curved, double-arrow,
rotate it counterclockwise. To make sure it’s the same angle as the
title, move it to the bottom edge and rotate it
until the angles are the same. Move it into position
and press Enter or Return. Next, we’ll add the tagline. Press “T” open your Type Tool
and click on your document. I’m using “Bebas Neue”,
which I provided a link to. I’ll make the Size:18 points and the Leading: 20 points. Click the color box and pick a color. I’m typing 4 F A 9 B 3. Click the Center Text icon and type out your tagline. Open your Move Tool to re-position it. I’d like to italicize the text,
so a click on the Faux Italic icon. Click on the “fx” icon and choose Stroke. Make the Size: 2 pixels and click OK.
We’re ready to add retro clip-art, but first, let’s place all the text into a folder. Shift-click on the large “T” on the bottom
text layer to highlight all the text. Then, press Ctrl or Cmd + G. Let’s name it, “Text”. Click on the New Layer icon to make a new layer. We’ll fill it with white by pressing Shift plus the F5 key and choosing White. Click off the eyeballs of all the other
layers to hide them. Press “T” open your Type Tool
and click on your document. Open “Horror Dingbats II The Victims”, which I provided the link to. Make the Size 300 points and make the color Black. Click the “Caps Lock” key on your keyboard. Each letter is a
different clip art illustration. I like this one for my cover,
which is the letter “E”. Ctrl-click or Cmd-click on the “T”
to make a selection of the shape of the clip art. Click the New Layer icon
to make a new layer and hide the clip art text. Press “d” on your keyboard to make your
foreground and background colors black and white, respectively. To fill the
selection with the foreground color, press Alt or Option + Delete. Invert the selection by pressing Ctrl+ Shift + I on Windows or Cmd + Shift + I on a Mac. Then, hide the selection
by pressing Ctrl or Cmd + H. Click the foreground color and pick a color for the skin. I’m picking F F B 0 B 0. Then, click OK. Open the Paint Bucket Tool and click on the face to fill it in with
the color. To fill in the areas of the skin that the paint bucket tool didn’t fill in, Open your Pencil Tool and choose a
relatively small, point size with a Hardness of 100%. Paint over those areas. Click on the foreground color and pick another color for a different
area of the clip art. Continue until you’ve painted in all the
colors you want. Press Ctrl or Cmd + D to delete
the selection of the clip art that we hid. earlier. Drag both of the layers to the trash, since we don’t need them anymore.
Make all the layers visible and drag the clip art below the text. Open your Transform Tool and drag down. Go to the top, left corner and when you
see a diagonal, double- arrow, press and hold Shift as you drag it in. Then, press Enter or Return. The next steps will be to pixelate the
background and clip art into color halftones. Hide the top, two layers. Go to Image and Image Size. Change the Pixels to Percent and make
sure the chain link is highlighted, which links the Width
and the Height together. Type in 300 in either the Width or the Height. I’ll show you the reason later why
we’re enlarging it this amount. Click OK. To move it on your screen, press the Space bar as you drag the image. Go to Filter, Pixelate and Color Halftone. The Radius amount
determines the size of the pixels of the color halftone. “4” is the smallest radius size we’re allowed. The Channels
are already set at their default amounts. Click OK. Make the Base layer active and press Ctrl or Cmd + F
to repeat the color halftone Press Ctrl + Alt + I on Windows or Cmd + Option + I on a Mac to open its Image Size. Type in 33% and click OK. If we applied the color halftone filter
without enlarging our image 300%, the result would look like this.
The color halftone pixel radius is still “4”, but when we applied it to
the original size of the image, the color halftone pixels are way too large. To see the final image,
make all the layers visible. This is Marty from Blue Lightning TV.
Thanks for watching!

Redmi K30 – WITH NEW SONY CAMERA SENSOR!!!

Redmi K30 – WITH NEW SONY CAMERA SENSOR!!!


Hey guys, Hash here from Hash tech and today
I am going to talk about Redmi K30. which will be going to announce this month. Moreover, yesterday leaked promo images of
the device were making round on the internet. As you can see, the image reveals a few key
aspects in terms of design. From the images, we can confirm K30 will have
a punch-hole design with the cutout located on the right side. But this image is not authentic and also we
can’t predict the final look. In my opinion, there is a small white dot
near the cutout. So it may be edited I think. Earlier rumor suggests that Redmi k30 could
be launched with the world’s high-resolution camera sensor, which could be the new Sony
IMX686 sensor with 60MP resolution. So sony also going to launch this sensor and
K30 will the first phone implement this camera sensor. Definitely, it is a powerful sensor from Sony. Apart from the camera sensor, Redmi K30 will
arrive with a dual-mode 5G support, including both NSA and SA modes. If this happens, the phone will become the
first phone to support 5G from the brand. Redmi K30 will launch with a 6.66-inch FHD+
display, which maybe includes a 90Hz refresh rate for standard and 120hz for upper variant
K30 PRO. As always this phone will pack with Android
10 and MIUI 11 on the top. Earlier Sudhanshu Ambhore, a tipster on twitter
mentioned that K30 will be equipped with a snapdragon 735 processor. Earlier there is a rumor about the MediaTek
5G chip also, which will be equipped in the K30 series. So there is no confirmation about the chip
or processor of redmi K30 SERIES. According to some latest reports, this smartphone
is available in China with 5G connectivity and the rest of the world with 4G variant
Let me know your thoughts about Redmi K30 in the comment box. I will see all tomorrow make sure subscribe
to this channel for more updates about the xiaomi device, and also Don’t forget to hit
that notifying bell icon. Thank you for watching it. I am Ashkar from hash tech

Huawei Nova 6 SE – IPHONE 11 PRO CAMERA DESIGN!

Huawei Nova 6 SE – IPHONE 11 PRO CAMERA DESIGN!


Hey, Guys Hash here from hash tech. Huawei scheduled an event on December 5 to
launch it’s new Nova 6 series. Also, we got a lot of information and details
of this smartphone past 4 weeks. The last updates were the smartphone’s official
video teaser that one of the models will have been supported for 5G connectivity. Anyway today, there is new information regarding
this series, which will include a nova 6 lite version call it as Nova 6 SE. This phone will available in the mid-range
segment with kirin 810 chipset. Nova 6 SE will also feature a quad-camera
setup like its siblings as per the newly leaked render. But instead of vertical alignment, it will
house the cameras in a square bump like Huawei Mate 30 Pro but at the top left corner as
we have seen on the Pixel 4 series and iPhone 11 series. The render also reveals a side-mounted fingerprint
sensor which will be also present on the regular Nova 6 as well in line with previous leaks. Also, in consonance with render, it will sport
a punch-hole display and will be available in a pinkish white gradient paint job in addition
to other colors. Anyway, there are no other leaks or information
about this smartphone. So we want to wait for the coming days. As we all know before Nova 6 has a double-punch-hole
screen design. Exactly same like we have seen on SAMSUNG
GALAXY S10 PLUS. We also want to know that Nova 6 support 5G
which powered by Kirin 990 5G chip with a most advanced 7-nanometer and EUV processes. Huawei nova 6 5g is the world’s first mobile
terminal chip with more than 10.3 billion transistors. Furthermore, Huawei includes a quad-camera
setup on Huawei Nova 6 series. So Let me know your thoughts about Huawei
devices in the comment box. I will see all tomorrow make sure subscribe
to this channel for more updates about the Huawei, and also Don’t forget to hit that
notifying bell icon. Thank you for watching it. I am Ashkar from hash tech

Ursus Wehrli: Tidying up art

Ursus Wehrli: Tidying up art


My name is Ursus Wehrli, and I would like to talk to you this morning about my project, Tidying Up Art. First of all — any questions so far? First of all, I have to say I’m not from around here. I’m from a completely different cultural area, maybe you noticed? I mean, I’m wearing a tie, first. And then secondly, I’m a little bit nervous because I’m speaking in a foreign language, and I want to apologize in advance, for any mistakes I might make. Because I’m from Switzerland, and I just don’t hope you think this is Swiss German I’m speaking now here. This is just what it sounds like if we Swiss try to speak American. But don’t worry — I don’t have trouble with English, as such. I mean, it’s not my problem, it’s your language after all. (Laughter) I am fine. After this presentation here at TED, I can simply go back to Switzerland, and you have to go on talking like this all the time. (Laughter) So I’ve been asked by the organizers to read from my book. It’s called “Tidying Up Art” and it’s, as you can see, it’s more or less a picture book. So the reading would be over very quickly. But since I’m here at TED, I decided to hold my talk here in a more modern way, in the spirit of TED here, and I managed to do some slides here for you. I’d like to show them around so we can just, you know — (Laughter) Actually, I managed to prepare for you some enlarged pictures — even better. So Tidying Up Art, I mean, I have to say, that’s a relatively new term. You won’t be familiar with it. I mean, it’s a hobby of mine that I’ve been indulging in for the last few years, and it all started out with this picture of the American artist, Donald Baechler I had hanging at home. I had to look at it every day and after a while I just couldn’t stand the mess anymore this guy was looking at all day long. Yeah, I kind of felt sorry for him. And it seemed to me even he felt really bad facing these unorganized red squares day after day. So I decided to give him a little support, and brought some order into neatly stacking the blocks on top of each other. (Laughter) Yeah. And I think he looks now less miserable. And it was great. With this experience, I started to look more closely at modern art. Then I realized how, you know, the world of modern art is particularly topsy-turvy. And I can show here a very good example. It’s actually a simple one, but it’s a good one to start with. It’s a picture by Paul Klee. And we can see here very clearly, it’s a confusion of color. (Laughter) Yeah. The artist doesn’t really seem to know where to put the different colors. The various pictures here of the various elements of the picture — the whole thing is unstructured. We don’t know, maybe Mr. Klee was probably in a hurry, I mean — (Laughter) — maybe he had to catch a plane, or something. We can see here he started out with orange, and then he already ran out of orange, and here we can see he decided to take a break for a square. And I would like to show you here my tidied up version of this picture. (Laughter) We can see now what was barely recognizable in the original: 17 red and orange squares are juxtaposed with just two green squares. Yeah, that’s great. So I mean, that’s just tidying up for beginners. I would like to show you here a picture which is a bit more advanced. (Laughter) What can you say? What a mess. I mean, you see, everything seems to have been scattered aimlessly around the space. If my room back home had looked like this, my mother would have grounded me for three days. So I’d like to — I wanted to reintroduce some structure into that picture. And that’s really advanced tidying up. (Applause) Yeah, you’re right. Sometimes people clap at this point, but that’s actually more in Switzerland. (Laughter) We Swiss are famous for chocolate and cheese. Our trains run on time. We are only happy when things are in order. But to go on, here is a very good example to see. This is a picture by Joan Miro. And yeah, we can see the artist has drawn a few lines and shapes and dropped them any old way onto a yellow background. And yeah, it’s the sort of thing you produce when you’re doodling on the phone. (Laughter) And this is my — (Laughter) — you can see now the whole thing takes up far less space. It’s more economical and also more efficient. With this method Mr. Miro could have saved canvas for another picture. But I can see in your faces that you’re still a little bit skeptical. So that you can just appreciate how serious I am about all this, I brought along the patents, the specifications for some of these works, because I’ve had my working methods patented at the Eidgenössische Amt für Geistiges Eigentum in Bern, Switzerland. (Laughter) I’ll just quote from the specification. “Laut den Kunstprüfer Dr. Albrecht –” It’s not finished yet. “Laut den Kunstprüfer Dr. Albrecht Götz von Ohlenhusen wird die Verfahrensweise rechtlich geschützt welche die Kunst durch spezifisch aufgeräumte Regelmässigkeiten des allgemeinen Formenschatzes neue Wirkungen zu erzielen möglich wird.” Ja, well I could have translated that, but you would have been none the wiser. I’m not sure myself what it means but it sounds good anyway. I just realized it’s important how one introduces new ideas to people, that’s why these patents are sometimes necessary. I would like to do a short test with you. Everyone is sitting in quite an orderly fashion here this morning. So I would like to ask you all to raise your right hand. Yeah. The right hand is the one we write with, apart from the left-handers. And now, I’ll count to three. I mean, it still looks very orderly to me. Now, I’ll count to three, and on the count of three I’d like you all to shake hands with the person behind you. OK? One, two, three. (Laughter) You can see now, that’s a good example: even behaving in an orderly, systematic way can sometimes lead to complete chaos. So we can also see that very clearly in this next painting. This is a painting by the artist, Niki de Saint Phalle. And I mean, in the original it’s completely unclear to see what this tangle of colors and shapes is supposed to depict. But in the tidied up version, it’s plain to see that it’s a sunburnt woman playing volleyball. (Laughter) Yeah, it’s a — this one here, that’s much better. That’s a picture by Keith Haring. (Laughter) I think it doesn’t matter. So, I mean, this picture has not even got a proper title. It’s called “Untitled” and I think that’s appropriate. So, in the tidied-up version we have a sort of Keith Haring spare parts shop. (Laughter) This is Keith Haring looked at statistically. One can see here quite clearly, you can see we have 25 pale green elements, of which one is in the form of a circle. Or here, for example, we have 27 pink squares with only one pink curve. I mean, that’s interesting. One could extend this sort of statistical analysis to cover all Mr. Haring’s various works, in order to establish in which period the artist favored pale green circles or pink squares. And the artist himself could also benefit from this sort of listing procedure by using it to estimate how many pots of paint he’s likely to need in the future. (Laughter) One can obviously also make combinations. For example, with the Keith Haring circles and Kandinsky’s dots. You can add them to all the squares of Paul Klee. In the end, one has a list with which one then can arrange. Then you categorize it, then you file it, put that file in a filing cabinet, put it in your office and you can make a living doing it. (Laughter) Yeah, from my own experience. So I’m — (Laughter) Actually, I mean, here we have some artists that are a bit more structured. It’s not too bad. This is Jasper Johns. We can see here he was practicing with his ruler. (Laughter) But I think it could still benefit from more discipline. And I think the whole thing adds up much better if you do it like this. (Laughter) And here, that’s one of my favorites. Tidying up Rene Magritte — this is really fun. You know, there is a — (Laughter) I’m always being asked what inspired me to embark on all this. It goes back to a time when I was very often staying in hotels. So once I had the opportunity to stay in a ritzy, five-star hotel. And you know, there you had this little sign — I put this little sign outside the door every morning that read, “Please tidy room.” I don’t know if you have them over here. So actually, my room there hasn’t been tidied once daily, but three times a day. So after a while I decided to have a little fun, and before leaving the room each day I’d scatter a few things around the space. Like books, clothes, toothbrush, etc. And it was great. By the time I returned everything had always been neatly returned to its place. But then one morning, I hang the same little sign onto that picture by Vincent van Gogh. (Laughter) And you have to say this room hadn’t been tidied up since 1888. And when I returned it looked like this. (Laughter) Yeah, at least it is now possible to do some vacuuming. (Laughter) OK, I mean, I can see there are always people that like reacting that one or another picture hasn’t been properly tidied up. So we can make a short test with you. This is a picture by Rene Magritte, and I’d like you all to inwardly — like in your head, that is — to tidy that up. So it’s possible that some of you would make it like this. (Laughter) Yeah? I would actually prefer to do it more this way. Some people would make apple pie out of it. But it’s a very good example to see that the whole work was more of a handicraft endeavor that involved the very time-consuming job of cutting out the various elements and sticking them back in new arrangements. And it’s not done, as many people imagine, with the computer, otherwise it would look like this. (Laughter) So now I’ve been able to tidy up pictures that I’ve wanted to tidy up for a long time. Here is a very good example. Take Jackson Pollock, for example. It’s — oh, no, it’s — that’s a really hard one. But after a while, I just decided here to go all the way and put the paint back into the cans. (Applause) Or you could go into three-dimensional art. Here we have the fur cup by Meret Oppenheim. Here I just brought it back to its original state. (Laughter) But yeah, and it’s great, you can even go, you know — Or we have this pointillist movement for those of you who are into art. The pointillist movement is that kind of paintings where everything is broken down into dots and pixels. And then I — this sort of thing is ideal for tidying up. (Laughter) So I once applied myself to the work of the inventor of that method, Georges Seurat, and I collected together all his dots. And now they’re all in here. (Laughter) You can count them afterwards, if you like. You see, that’s the wonderful thing about the tidy up art idea: it’s new. So there is no existing tradition in it. There is no textbooks, I mean, not yet, anyway. I mean, it’s “the future we will create.” (Laughter) But to round things up I would like to show you just one more. This is the village square by Pieter Bruegel. That’s how it looks like when you send everyone home. (Laughter) Yeah, maybe you’re asking yourselves where old Bruegel’s people went? Of course, they’re not gone. They’re all here. (Laughter) I just piled them up. (Laughter) So I’m — yeah, actually I’m kind of finished at that moment. And for those who want to see more, I’ve got my book downstairs in the bookshop. And I’m happy to sign it for you with any name of any artist. (Laughter) But before leaving I would like to show you, I’m working right now on another — in a related field with my tidying up art method. I’m working in a related field. And I started to bring some order into some flags. Here — that’s just my new proposal here for the Union Jack. (Laughter) And then maybe before I leave you … yeah, I think, after you have seen that I have to leave anyway. (Laughter) Yeah, that was a hard one. I couldn’t find a way to tidy that up properly, so I just decided to make it a little bit more simpler. (Laughter) Thank you very much. (Applause)

MFA in Applied Arts and Design, Metal Art

MFA in Applied Arts and Design, Metal Art


Something really special about the metal programme is the workshop space. It is really big. It has all the functions that you could possibly want to create your work. You have your own sketch space and your own work bench so you can have all of your tools and your work there. And create fantastic pieces of metal art. The programme has three directions: wood oriented furniture design, metal art or textile-body-space. Although those directions are separate you work very closely in the group. You have lectures together, the only difference is that you would use different workshops. It is in the middle of the woods, far enough away from the town so you don’t get too distracted by city living but close enough so that you can go and experience that. After I’ve finished my studies, I had the opportunity to work for a black smith in Skåne, in the South of Sweden. My plans for the future are staying in Sweden for now. I’ve kind of fallen in love with the place and I’d like to stay.

Water Marble Nail Art! How to Water Marble Your Nails Step by Step Tips for BEGINNERS!

Water Marble Nail Art! How to Water Marble Your Nails Step by Step Tips for BEGINNERS!


Water marbling is a nail coloring technique,
where you drip drops of different colored polishes on the water surface, make a design
with a pointy tool and dip in your finger. Or you can spill two of your favorite polishes
on the floor and just roll your finger in here for a quicker solution.
Hey guys! Water marble is such a cool nail art technique. It looks so easy when watching
the tutorials where pros are doing it. But when you try to do it yourself, you bump into
a lot of problems. I was there myself, I figured that water marble nail art is actually very
tricky. There’s just a lot of rules we need to follow if we want to make it work. So I
did a thorough research, I read many articles, I tried so many different nail polishes…
and here I put all the secrets and hints together to share them with you! I’m
going to show you how to make this design and along the way I am going to tell you all
the tips and tricks you need to know about the water marbling. So let’s get started!
First of all it is important what kind of container for water you chose. Don’t use a
big bowl, but rather try a small cup or a glass like this. Mine is from an old candle.
If your container is too big the polish may spread too much and dry too quickly. It’s
recommended to use filtered or distilled room temperature water, and here’s why – unfiltered
water may contain different minerals that can prevent polish from spreading on the surface.
This depends on where you live, so try your tap water out first; it may work if you are
lucky. I find that both warm and cold water cause
my polish to dry quicker making it impossible to drag a toothpick through polishes to make
a design. To get the water to room temperature, simply leave it in a bottle for 2 hours before
starting with water marble. Another important tip is to always use clean
water, or your polish won’t be able to spread, see?
When you drop your polish into the water, you want to be just above the surface. If
you hold your polish brush too high the polish drop may sink to the bottom. The drop will
get much higher speed due to gravity force and the water surface won’t be able to catch
it. Therefore, you need to drop the polish close
to the surface like me or even closer. For more opaque effect you can touch the surface
gently with the polish brush and the water will pull more color from the brush, giving
you brighter results. You can also drip two or three drops of the same polish in a row.
Now your colors will be much more opaque. It’s important to know that not all polishes
will work with water marbling. You really need to test different polishes you own to
see which ones you can use. And remember, what counts is the texture and not the brand.
Generally glitter polishes don’t work. They are too thick because of the glitter and even
if the polish itself may spread on the water surface, the polish on top of it most probably
won’t. If a polish is too sticky and thick it’s almost
impossible to drop it and if you do, it won’t spread as it should. A nail polish thinner
can help you if your polishes are too gloopy and thick by texture. Nail lacquers are supposed
to work better than polishes. In addition, marbling won’t work with base and top coats,
fast drying polishes, crack polishes, satin and matte effect polishes.
It is also important, which polishes you combine and in what order you’re dripping different
colors. See here… This yellow polish is not working
with my blue one. The yellow one is much more watery, while the blue one is thicker – we
can say stronger. The yellow one cannot spread on top of it. Therefore you need to find polishes
with similar density. They must be equally strong! Here, I am using the same blue color
as before, and it works great together with this peachy orange one as they are of similar
thickness. It is like in the martial art sports. Fighters are grouped in weight categories.
Only the ones with a similar weight can fight each other!
Ok, now let’s do some water marbling and I will give you more tips along the way.
We need a cup with water, colored polishes, base coat, white polish, tape, toothpick or
a needle, paper wipes, scissors, q-tips, nail polish remover, disposable work space like
an old towel and a long stick. First, protect your nails with a base coat.
Next, apply 2 coats of white polish. White canvas assures that the colors on your nails
will be bright and opaque. Tape up your fingers as close to your nails
as possible. and make sure to tape around the cuticle and not over the nail. You can
always remove the polish on the cuticle with a nail polish remover, but if you tape over
your nail, this part will remain white and it will ruin your design. You can also use
cuticle oil or vaseline and apply it around your nails, but I prefer a tape.
Before you start with the water marbling it’s very important to have all the tools close
to you. You have to work very fast, otherwise the polish will dry and you’ll make a mess.
Drip the first drop of the polish aiming in the center of the cup. With the next color
aim in the center of the previous, and so on until you get a bull’s-eye. You can use
more than 2 colors of the polish; to keep it simple, I just went for two. If you have
short nails like me, designs using more colors may not fit on your nails at all.
To help the polishes spread you can shake the cup from time to time. See how it helps
spreading the blue polish? You can also use a pointy tool and drag around the water to
help the polish spread. Look how well it works…. When drawing a design it’s important not to
start dragging from the outer most ring. It’s from the drop you dropped first so it’s probably
dry by now… This is what happens if you start with it. Oh no, we messed up! Sorry…
the tutorial is over. Just kidding! I always get you right. Ok.. so remember to always
start dragging the tool through polish from the safe zone in.
For a neat and sharp design, wipe your pointy tool each time you drag through polish. There
are many different designs you can make with the water marbling. I really like the flower
design and that’s the one I am going for today. Just drag straight lines towards the center
to end up with a beautiful flower. You don’t have to go all around as your nail is probably
not that big anyway. Now we need to dip the finger in! Keep your finger at 45 degree angle
against the surface and dip it in gently. This way you avoid air bubbles that may appear
under the polish when you take your finger out. Leave your finger in the water for few
seconds and in the meantime blow on the polish to help it dry faster. Then remove the polish
from the surface with a toothpick. You need to clean the surface properly before pulling
the finger out of the water. If there are any bigger water drops on your nail, soak
them up carefully with a corner of a paper towel. If the drop is smaller just leave it
and it’ll dry on the air. Carefully remove the tape around your nail
and clean up any polish from your finger with a q-tip soaked in acetone.
Look how pretty this design turned out! Just apply a thick coat of the fast drying top
coat and we’re done for this nail. On my other hand I’ve taped all of my fingers
— it looks kind of funny, haha. You can make countless designs with water
marble. In the bottom right corner I am dragging the tool from the center out and this way
you get a wavy marble design. I am using a needle to draw the design, but a toothpick
or pencil will work great too. To save up on time and polish you can dip multiple fingers
in the water at once. I did it in the upper left corner. Just be careful not to bump with
one nail to another as this can damage the design on both nails.
Apply a top coat to give a beautiful shine and protect nails from chipping. Water marbling
applies a thin layer of polish to your nails so they may chip easily — therefore a top
coat is a must. I really, really hope you find this video
helpful and if you’re gonna do the water marble nail art yourself, good luck! You’re now equipped
with all the secrets and hints so I’m sure you’re gonna do well! If you want to see my
nail care video, click right here. And of course don’t forget to subscribe to my channel
for more nail art videos in the future. Thank you so much for watching and see you next
time! Bye, bye! If you still have problems with water marbling,
let me know in the comments what your issues are and I will try to help you. Also if you
have any other water marbling tips leave them below so we can all learn together and become
water marble experts!

HeadBlade | INVENTORS | PBS Digital Studios

HeadBlade | INVENTORS | PBS Digital Studios


Behind every head shaver there’s a story of
why they shave their head. There’s alopecia. There’s people that shave their heads for
performance reasons, you know, a basketball player. Then there’s other people that do
it for religious reasons. There’s other people that do it because it’s a result of hair loss.
Everybody’s reason is different, but we’re that company that embodies
everything about head shaving. My name is Todd Greene, and
I invented the HeadBlade. Are we ready? Camera one. Camera two.
Camera one. Okay. A conventional razor takes your hand away
from your head. So you can’t shave by feel. And when you shave your head there are certain
places you can’t see so you have to shave by feel. And I had one of those eureka moments
where I was just rubbing my head, um, and thought, man if I could just put a razor on
my finger it would be easier to shave. This is the first prototype I made. It’s just
clay. And I made it to look like a basketball because the first prototype was called the
Hair Jordan. And the idea was you’d hold it in your hand like this, and you’d shave. It
was a good idea but the design was terrible. This HeadBlade is one that I actually used
every day for about a year. I hired somebody who makes movie props.
He started making these prototypes. We actually included the wheels to make for
a more intuitive, uh, shave. A smoother shave. I like to say you replace the wheels every
15,000 miles or 15,000 head shaves, whichever comes first. The first day that I sold HeadBlades, I made 500
HeadBlades and I produced them locally in Los Angeles. And if you’ve ever been to Venice
Beach, huge tourist area. I had 5 friends, I had the girls on the roller blades, and
I thought I’m just gonna sell all 500 of them, this is the start of something great. Well, at the end of the day we sold 8 HeadBlades.
And I said to my ex-wife, I said, Why am I doing this? I just spent a year of my life,
$150,000, and we sold 8 HeadBlades. And she said to me, you gotta look at the bright side.
You sold 5. You sold more than everybody else combined. And I said,
What am I gonna do with that? But when you realize, that’s what it is. It’s
you. If you have an idea, and you’re making the product, nobody’s going to care more than
you do. Nobody has the vision that you do. And you have to have the perseverance. You’re
going to be that one person in the room and if you don’t believe in yourself and you don’t
believe in what you’re doing, that’s when you should pack it up. The hair loss stuff, whether it’s toupees
or transplants or Rogaine or Propecia, that’s a billion dollar industry. And what it does,
and has been, it’s always looked at people who are going through hair loss as victims.
You know? And so it’s all these passive ways to either cover up hair loss or to get a transplant
or to keep your hair. But none of them are about, hey, this is who I am. I’m going to
shave my head. And that’s what HeadBlade embodies. And I’m proud of that. And that’s me.