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[Assistant] Northanger Abbey would make a very good title, don't you think?


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[Assistant] Not since our mother died. And even before then. I envy you, your happy childhood. My brother Frederick is well enough, I think. Sowing his wild oats, but soon he shall have to make a advantageous match. My sister is not happy. Remember the man we met on a country walk? He's a good friend of mine. He's a lot more than that to my sister. But our father,


[User] Please transcribe this text

[Assistant] Has refused to sanction the match. Edward is only a second son. And Eleanor must marry the heir to a rich estate.


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[Assistant] I always hoped I'd be lucky. A girl I fell in love with would come with a fortune attached.


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[Assistant] Then, that would be a very stern test of my character.


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[Assistant] Perhaps we better head back. I want to set off for Woodstone before nightfall.


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[Assistant] And from these circumstances you infer some negligence?


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[Assistant] And let me reassure you, Catherine. My mother's illness was sudden. And Eleanor was from home, but I was here throughout. And so was my brother Frederick. Our mother received every possible attention. Our physician was satisfied that nothing more could be done for her. The matter was deeply distressing, as you may imagine.


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[Assistant] She had had to bear a great deal from him, but when she was dead, he felt her loss.


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[Assistant] Perhaps after all, it is possible to read too many novels.


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[Assistant] No, no, no. It's I who should apologize. There's nothing you have said or thought that could justify the way you have been treated.


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[Assistant] Your imagination may be overactive, but your instinct was true. Our mother did suffer grievously and at the hands of our father. Do you remember I spoke to a kind of vampirism?


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[Assistant] Perhaps it was stupid to express it so, but we did watch him drain the life out of her with his coldness and his cruelty. He married her for her money, you see. She thought it was for love. It was a long time until she knew his heart was cold. No vampires, no blood. The worst crimes are the crimes of the heart.


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[Assistant] I should like to pay my respects. Perhaps Miss Moreland might show me the way.


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[Assistant] He thought you were Mr. Allen's heiress, and he exaggerated Mr. Allen's wealth to my father. You were only guilty of not being as rich as you were supposed to be. For that, he turned you out of the house.


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[Assistant] I've broken with my father, Katherine. And I never speak to him again.


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[Assistant] Let me instead tell you what I said to him. I told him that I felt myself bound to you. By honour, by affection,


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[Assistant] Before I go on, I should tell you, there's a pretty good chance he'll disinherit me. I fear I may never be a rich man, Catherine.


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[Assistant] And vampires? Don't say vampires. I could bear anything but not vampires.


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[Assistant] I had just about decided to walk straight home without even looking toward the parking lot. But my worries were unnecessary. Edward was waiting, leaning casually against the side of the gym, his breathtaking face untroubled now. As I walked to his side, I felt a peculiar sense of release. Hi, I breathed, smiling hugely. Hello, his answering smile was brilliant. How was gym? My face fell a tiny bit.


[User] Please transcribe this text

[Assistant] Fine, I lied. Really? He was unconvinced. His eyes shifted their focus slightly, looking over my shoulder and narrowing. I glanced behind me to see Mike's back as he walked away. What? I demanded. His eyes slid back to mine still tight. Newton's getting on my nerves. You weren't listening again. I was horror struck. All traces of my sudden good humor vanished. How's your head?


[User] Please transcribe this text

[Assistant] I turned stomping away in the general direction of the parking lot, though I hadn't ruled out walking at this point. He kept up with me easily. You were the one who mentioned how I'd never seen you in gym. It made me curious. He didn't sound repentant, so I ignored him. We walked in silence.


[User] Please transcribe this text

[Assistant] A furious, embarrassed silence on my part to his car. But I had to stop a few steps away. A crowd of people, all boys, were surrounding it. Then I realized they weren't surrounding the Volvo.


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[Assistant] They were actually circled around Rosalie's red convertible. Unmistakable lust in their eyes.


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[Assistant] I climbed quickly in the passenger side also unnoticed. Ostentatious, he muttered. What kind of car is that? I asked. An M3. I don't speak car and driver.


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[Assistant] It's a BMW, he rolled his eyes, not looking at me, trying to back out without running over the car enthusiast. I nodded. I'd heard of that one. Are you still angry? He asked as he carefully maneuvered his way out. Definitely, he sighed. Will you forgive me if I apologize? Maybe, if you mean it. And if you promise not to do it again, I insisted. His eyes were suddenly shrewd.


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[Assistant] How about if I mean it, and I agree to let you drive Saturday? He countered my conditions.


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[Assistant] I considered and decided it was probably the best offer I would get. Deal, I agreed. Then I'm very sorry I upset you. His eyes burned with sincerity for a protracted moment, playing havoc with the rhythm of my heart, and then turned playful.


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[Assistant] And I'll be on your doorstep bright and early Saturday morning. Uhm.


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[Assistant] It doesn't help with the Charlie situation if an unexplained Volvo is left in the driveway. His smile was condescending now. I wasn't intending to bring a car. How? He cut me off. Don't worry about it. I'll be there, no car. I let it go. I had a more pressing question. Is it later yet? I asked significantly. He frowned. I suppose it is later.


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[Assistant] I kept my expression polite as I waited. He stopped the car


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[Assistant] I looked up, surprised. Of course we were already at Charlie's house, parked behind the truck. It was easier to ride with him if I only looked when it was over. When I looked back at him, he was staring at me, measuring with his eyes. And you still want to know why you can't see me hunt. He seemed solemn, but I thought I saw a trace of humor deep in his eyes. Well, I clarified, I was mostly wondering about your reaction.


[User] Please transcribe this text

[Assistant] Did I frighten you? Yes, there was definitely humor there. No, I lied. He didn't buy it. I apologize for scaring you, he persisted with a slight smile. But then all evidence of teasing disappeared. It was just the very thought of you being there while we hunted. His jaw tightened. That would be bad? He spoke from between clenched teeth, extremely.


[User] Please transcribe this text

[Assistant] He took a deep breath and stared through the windshield at the thick rolling clouds that seemed to press down almost within reach. When we hunt, he spoke slowly, unwillingly, we give ourselves over to our senses, govern less with our minds, especially our sense of smell. If you were anywhere near me when I lost control that way,


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[Assistant] He shook his head still gazing morosely at the heavy clouds.


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[Assistant] It's amazing, the ripple effect of a single person's act.


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[Assistant] You just assume they're doing their job unless you're told otherwise. This isn't just a scandal about bad science. It is a scandal about bad law.


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[Assistant] Alas, poor country. Almost afraid to know itself. It cannot be called our mother.


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[Assistant] The administration then chose to defame me and more importantly the FBI by saying that the organization was in disarray, that it was poorly led, that the workforce had lost confidence in its leader. Those were lies.


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[Assistant] There's a danger here I'm projecting onto him, so this may be a faulty memory, but I kinda got his body language gave me the sense like, what am I gonna do?


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[Assistant] It's a question I don't think I should answer, uhm, in an open setting.


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[Assistant] Well, if anything could make me approve of this marriage of yours...


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[Assistant] It'll be that the child will have a strong hand over her at last. Stepfather's better than nothing.


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[Assistant] If you can call him a stepfather when our own's still alive. Don't. What's the use of saying don't? He is alive, you can't get away from that. Please, I'm telling you.


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[Assistant] When you see a person you care for, and she the wife of your own nephew, on the brink of a deadly sin. Must you begin again? I do my duty. If you'd done yours, Sydney wouldn't be late for dinner.


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[Assistant] Well, I certainly think we ought to know something about his family. Margaret, you owe it to us all.


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[Assistant] Out of? Well, I've heard about these Australians.


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[Assistant] But of course I am. Years and years. A lifetime. My daughter's lifetime. What's your name, daughter?


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[Assistant] Why? That's all over. Last, last. That's the thing for us to do.


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[Assistant] What a lovely room this is. My home. I can't say I like the new curtains.


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[Assistant] And I'll bet your mother hasn't either. Is she as lovely as she always was?


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[Assistant] That's right. Don't ever let me get that way. I tell you I'm as well as you are, but it's new. It only happened today. Like a curtain lifting. I was standing in the garden.


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[Assistant] The face of God. Well, you don't say a word when you think you weren't glad to see me, aren't you?


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[Assistant] That's right. That's right. You tell your mother. I'm all right. You understand that, don't you?


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[Assistant] Once the fears, the creatures, they were all real, but now I know they're in my own mind. I tell you, Meg, I'm well. I'm well. It isn't safe to think of anything but, but home. The holly, the crackle of the fire and the feeling of peace. And your presence. Your dear, tender presence.


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[Assistant] That's right. We must have no bells here. They had them there. Bells for bed, bells for breakfast, bells for everything. No bells, please.


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[Assistant] Doctor, eh? I've been expecting them down on me. It's no good, Doctor. I'm as fit as you are. Any test you like.


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[Assistant] I miss something. Something you used to have. You've grown away from me, haven't you?


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[Assistant] A long time. A long time for a woman to be faithful. That's what you're trying to tell me.


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[Assistant] She says she's divorced me. It's not possible, is it, Sidney? She had no reason. You had no reason, Meg. You can't put me off that way.


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[Assistant] Unless you're trying to confuse me. Perhaps you're trying to upset me and drive you off my head again.


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[Assistant] It's about Margaret, not about me. She's ill, not in her right mind. You can recognize those things when I see them. I suppose you're thinking that's a delusion. Well, between you and me, it's a common one. We know about those things, don't we? Served in the same shop, only the corner between us. But do you know what she said? I suppose it was the shock of seeing me. She said that she was not my wife.


[User] Please transcribe this text

[Assistant] I'm not a drunkard. I'm not a convict. I've done nothing wrong. Just went to war. Then what? Twenty years of misery. Then my wife, all of you. You say now that you've done without her for twenty years, you can do without her altogether. What have I ever done to you, Margaret? Did I ever hurt you? Didn't I love you? Didn't you love me? Could I help being ill? What did I do? What did I do?


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[Assistant] So it's just a case of saying goodbye and going because, because I see clearly there's no chance. Oh Meg, isn't there just one chance?


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[Assistant] As you came to say goodbye, but you're sending me out again alone. Can't you realize what this means? I'm afraid to be alone.


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[Assistant] You can't sentence me to that misery again. You don't know what misery means. I'm learning. But you don't know. You couldn't leave me to it if you knew. I've never known you'd harm a creature in your life. You've never hurt anyone. Then how can you hurt me so? You can't have changed since yesterday.


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[Assistant] Do it again now. Then you're not going to leave me. You can't send me back to that place, can you?


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[Assistant] Yes, it seems a lifetime since we met. If it's only yesterday. Yesterday since you were seated at the piano. Playing my sonata.


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[Assistant] I know. I knew it all the time. It came to me in that place.


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[Assistant] I want to give sort of a high level talk here and talk about the future of interactive technology. Uh, pretty broad topic.


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[Assistant] Uh, but my first thought when I sit down and think about what is the future of interactive technology is, well, it has changed some over the years that I've been looking at this.


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[Assistant] Uhm, some of the past futures that we have had have arrived. Uh, so we sort of see the precursor to Zoom here and boy has that arrived in the last few years and that sort of looks a lot like a Roomba.


[User] Please transcribe this text

[Assistant] Uhm, but something that did arrive, Mark Weiser had a vision, uh, of ubiquitous computing, where computing could be sort of all over, uhm,


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[Assistant] On the other hand, as revolutionary as that was and as well as it has served us, in many respects that vision was about taking the computing that existed, and still exists, and moving the interactive systems that were there out into the world.


[User] Please transcribe this text

[Assistant] Okay, and what they need to look like given that we have a lot different technology than we did. Alright.


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[Assistant] So today I'm going to take a little slice out of this very big and hard topic. And really what I want to do is to suggest some ways in which I think you should be thinking a little bit differently as an HCI researcher about the future than we have thought about the future in the past. Alright.


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[Assistant] Uh, but I am gonna focus on a few things. I am gonna talk about some new approaches to old problems, and I am gonna talk about some old approaches to new problems. Alright?


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[Assistant] Uh, I wanna talk a little bit about even more ubiquity, uh, and here I wanna say that we wanna think about making it, uh, even cheaper and more lightweight, smaller, inexpensive than we have in a pretty dramatic sense.


[User] Please transcribe this text

[Assistant] And then I want to talk about going beyond sort of colonizing the world. That's one way to see Weiser's vision is colonizing the world, the real world with computing, with the computational world. And I want to go to making the world, actually creating that whole world.


[User] Please transcribe this text

[Assistant] Alright, but before we do that, I feel like for any talk about the future of technology, we really need to talk about the elephant in the room, uh, that is always there.


[User] Please transcribe this text

[Assistant] Uh, has actually changed remarkably little. Uh, and that is the exponential growth of computing that is described by Moore's law. Okay, now I'm going to talk about Moore's law in a very schematic way so you'll notice I've very carefully labeled one axis here as good stuff resulting from transistors.


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[Assistant] It has been predicted to die any second now for many, many years, most of my lifetime. But in fact, it goes back further in time than we think and it continues forward. But there are definite limitations coming along these days.


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[Assistant] Okay and that's a lot harder to get the computation out of that and doing the work that you need it to do for your problem than it is sort of conventional architectures let's say. But even if we take that out those


[User] Please transcribe this text

[Assistant] Uh, increase here is actually exponential. So even without GPUs, these are all conventional CPUs. This chart's starting to get a little bit old, but it's pretty close to what's happening now. It's still going on. Okay.


[User] Please transcribe this text

[Assistant] But, the doubling rate is probably going to get wider, longer. It's been doubling at two years. It's probably going to be longer. It's going to be less consistent. It's not going to be so clock-stop, uh, as it has been. Okay, it's going to be less predictable, but it is still happening.


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[Assistant] Alright, and so what I like to say is Moore's Law is dead, long live Moore's Law. Alright, now.


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[Assistant] I know what you're thinking. It's like, why are you telling me this? I've known about Moore's Law since I was 12 years old. Why are you telling me about this? Okay, I'm here today to try to convince you that you do not understand Moore's Law.


[User] Please transcribe this text

[Assistant] Okay, and it really does matter. Uhm, and you should be thinking about it a lot more as an HCI researcher, as somebody who's building technology for people to use. I think we need to think a lot more about Moore's Law and more about the computational power than we have.


[User] Please transcribe this text

[Assistant] And the reason for, that I will say you don't understand Moore's Law is because it is very difficult as human beings to understand exponential growth. It's just, it's nearly impossible it seems to me. Every time I think I understand it, I realize I don't.


[User] Please transcribe this text

[Assistant] Alright, think about all the computational increase in computational power that we've had since. You can pick a date, but I'll pick 1965, and maybe this is what computing looked like in about 1965. Very different than today. That's a machine that fills a good part of a room, which is vastly overpowered by my watch.


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[Assistant] Okay, so think about just how much increase. There's been this tremendous explosion of increased computational power. Hold in your head a second how much increase that is.


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[Assistant] Right? Well, what does it mean to double every two years? It means all of that increase, every single bit of it happens again in the next two years. All of it.


[User] Please transcribe this text

[Assistant] All of that increase happens again. That's what doubling means. And this is why we can't understand exponential increases.


[User] Please transcribe this text

[Assistant] Okay, that is huge. Okay, every single bit of those gains are gonna happen in the next two years. Every single bit are gonna happen before sophomores in this room graduate. Okay, all of that change is gonna happen again.


[User] Please transcribe this text

[Assistant] It's a great experiment. Suppose you and everything in this room, so we can't really see outside this room, that's great for this experiment, uh, suppose you and everything in the room here suddenly got ten times bigger. Could you tell the difference? Alright, how many people think you could tell, you could not tell the difference?


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[Assistant] I think that's kind of the common sense answer is you couldn't quite tell the difference. That turns out to be the right answer but for not the reason that you think. Okay. So let's think about this a little bit. Uhm, let's see how our chair is situated here. We have two legs. Okay.


[User] Please transcribe this text

[Assistant] So the chair will collapse under the 10x weight, but in fact, you're probably going to be distracted. You're not going to notice that because most of your bones are going to break for exactly the same reason. Okay. And you will, you would probably notice that. Okay.


[User] Please transcribe this text

[Assistant] Except, not really, uh, because oxygen consumption of cells scales by volume, but their ability to absorb it scales by area. You just lost 90% of your oxygen to your brain. You will be unconscious before you hit the floor and dead shortly thereafter, so no, you won't notice. Okay, but not for the reason that you thought.


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[Assistant] Order of magnitude and large or larger changes have a huge impact on things and they in particular have a big impact when we have differential scaling.


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[Assistant] Which is exactly what we've got. We've got sort of raw computing power on this end.


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[Assistant] And this thought experiment is really to make you realize that when you have big differential scaling, it has huge impacts on things.


[User] Please transcribe this text

[Assistant] Now, by the way, just how much computing power do we have right now? Because I think we lose track of this. So, uhm, see the last time I did this I looked this up in the latest, uh, NVIDIA architecture, uhm,


[User] Please transcribe this text

[Assistant] We're talking about 76 billion transistors on each chip. Okay, and billion is a number that's a little hard, like exponential is a little hard to get your head around. So let's talk about that a little bit. First off, it's getting kind of hard to measure these days, uh, because you've got so many, you now have a bunch of different core types.


[User] Please transcribe this text

[Assistant] I think we likely have about a hundred trillion, so we've just bounced up by another factor of a thousand, floating point operations per second at peak speeds for a single GPU. And these are devices you can buy off the shelf, stuff into your PC, these are not


[User] Please transcribe this text

[Assistant] And to give you an idea of how big that is, that comes out to roughly 1,100 floating point operations per second for every single neuron in your brain. Alright?


[User] Please transcribe this text

[Assistant] So, should beg the question of like, can I simulate a neuron with 1100 floating point operations per second? I think you probably can. But, different talk. Okay.


[User] Please transcribe this text

[Assistant] And the original, uh, microcomputer had 2300 transistors in it. So we have many, we have an order of magnitude more cores, and there's at least an ALU in each one of those, than we had transistors in where, in the,


[User] Please transcribe this text

[Assistant] Uhm, microcomputer that kind of, we feel like started all of this.


[User] Please transcribe this text

[Assistant] Okay, we feel like there's been all this technological change in the last few years and things have just been exploding. Nothing has happened yet because we are here. We are not way up here. We are here at the beginning. Uh, and that's an implication of exponential growth.


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[Assistant] If you think about, I said in two years we're gonna see all that change that I said was there or that you thought about was there since 1965 again.


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[Assistant] In four years, we're gonna have seen three times that much, and so forth and so on. Okay? And so, the change that we've seen recently, or seems like recently that seems like it's just exploding, nothing.


[User] Please transcribe this text

[Assistant] Uh, it's just a drop in the bucket compared to what we're going to see, uh, as things continue on.


[User] Please transcribe this text

[Assistant] Okay, so hopefully that gives you an idea that maybe we have a lot of raw material to work with and we can expect a lot more raw material in the future.


[User] Please transcribe this text

[Assistant] So what are we going to do with that from an HCI perspective? How are we going to serve people for this? Okay, and here I'm just going to throw out some possible, a few possible exemplars and I'll basically start setting up the first one here.


[User] Please transcribe this text

[Assistant] Here's some ideas of things we might do. These are not at all new ideas or original to me.


[User] Please transcribe this text

[Assistant] One is sensors, sensors and more sensors and let's use machine learning to derive the context of interaction so that we know what the user is doing and we can respond appropriately and we can provide value for that.


[User] Please transcribe this text

[Assistant] Okay, we see a lot of that out in the world. Uh, another one is let's do natural interaction, so gesture and speech and other things that we do in human to human communication to make our, uhm,


[User] Please transcribe this text

[Assistant] Interaction with, uh, our machines more natural. Okay, well what do those things have in common?


[User] Please transcribe this text

[Assistant] Something they have in common is uncertainty. And this is something they have in common that is not in common with our previous work.


[User] Please transcribe this text

[Assistant] Okay, we don't know that the sensors are accurate. We definitely don't know that the machine learning models have definitely delivered the truth. They're getting much and much, much, much better, but they're, you know, you think about it, 95% accuracy, you're still missing one in 20, getting it wrong.


[User] Please transcribe this text

[Assistant] Okay, if you think about what we know about how to handle input, if it was the case that, you know, I was told my system reported an event that the left mouse button went down, but 1 out of 20 it didn't really?


[User] Please transcribe this text

[Assistant] For handling inputs is really, uh, implicitly assuming that the inputs actually happened as they deliver, uh, were delivered. And if that's not true, then all sorts of bad things start to happen. Uh, and so this uncertainty is a real problem, and it's been a real problem for quite a long time.


[User] Please transcribe this text

[Assistant] Okay, so this brings me to my exemplar number one, uh, that I want to talk about, which is handling uncertain interaction. Okay.


[User] Please transcribe this text

[Assistant] Now for me, this is an old problem. It's a very ti- it's still a completely timely problem, I think, but I've been trying to work on this problem for more than 30 years, uh, across three, uh,


[User] Please transcribe this text

[Assistant] But we somewhat recently, well I guess 2014 is somewhat recently, uhm, we finally sort of got to my feeling that we had made some significant progress on this problem.


[User] Please transcribe this text

[Assistant] Was able to sort of essentially crack this or at least provide a big move forward by using a massive amount of computing power. Well, we'll see if it's really massive in a minute, but let's call it massive for a minute, okay? So what did she do?


[User] Please transcribe this text

[Assistant] Well, what she ended up doing was to use Monte Carlo representations of the interface and a particle filtering approach to consider, uhm, multiple alternatives. Now, if you think about inputs, or you think about


[User] Please transcribe this text

[Assistant] Uncertainty in interaction, you have uncertainty in the input. You don't know what you have. So you want to think about a probability distribution over the possible inputs that maybe this really was. And that's going to induce a probability distribution over states of the interface.


[User] Please transcribe this text

[Assistant] Okay, and so what we're really gonna do is, or what Julia, uh, did was to run N copies, as many as you need, of the interface. Now each of these copies is represented by, internally by an interactor tree, if you know how interfaces are, uh, uh, implemented internally.


[User] Please transcribe this text

[Assistant] Uh, and each copy of that, each copy of that interface tree represents one possible state of the interface and we have a collection of them. We can use that collection as an approximation to the probability distribution over the possible states that have been induced by the possible states of the


[User] Please transcribe this text

[Assistant] Of a possible state in a very high dimensional, uh, state space of interfaces. Okay?


[User] Please transcribe this text

[Assistant] Alright, so together, uh, these samples approximate this large probability distribution, uh, and it is the probability distribution of probability of states that have been induced by the probability that we saw particular inputs.


[User] Please transcribe this text

[Assistant] Which is, I don't understand Moore's Law either. Okay, Julia cracked this by doing something that I characterized at the time as crazy. I told her not to do it. In fact, she implemented a whole system under my advice that didn't take this approach at all, and it didn't, it worked okay, but it wasn't that great. Uhm, eventually she stopped listening to me.


[User] Please transcribe this text

[Assistant] But I was, I was telling her, we will need thousands of copies of interfaces, I said. And copies that were going on. And this will never be practical, I said. Don't do this, I said. Well, she implemented it on her mobile phone and it worked just fine. So yeaah, I don't understand Moore's Law either.


[User] Please transcribe this text

[Assistant] But that's fine, okay? If you think about it, uh, the structures that we use for implementing graphical user interfaces today were invented in the early 80s. They worked great on the machines at that time.


[User] Please transcribe this text

[Assistant] We now have over 200,000 times more computational power, more memory, more of everything than we had at that time. So if we need 20,000 copies of the interface, it's just a drop in the bucket. Okay, no problem. We can do that. So.


[User] Please transcribe this text

[Assistant] But, uh, you don't need thousands of samples. You might need a hundred samples. You probably don't. Usually you need tens of samples. Julia said, I'm gonna cap this at ten samples. And it worked fine for the demo that I'll show in a minute.


[User] Please transcribe this text

[Assistant] Okay, why is that? This is a very high dimensional space. How can we possibly sample it? Well, the reason is that the high dimensionality here, uhm,


[User] Please transcribe this text

[Assistant] The dimensions are in just not at all independent of each other. And if you think about what the user's doing, uh, there's only probably three or four, maybe five, but usually three or four things that the user might be trying to do at any given time.


[User] Please transcribe this text

[Assistant] As a necessity, uh, for modeling this. So it turns out that we could have afforded to do tens of thousands of interfaces, we only need to do ten. Okay? But we never got, we would have never gotten there to understand that point if, uh, Julia had listened to me.


[User] Please transcribe this text

[Assistant] The moral of the story is that the siren song of efficiency that comes from our computer science intuitions, and we all have these intuitions. When I sit down and write code, it's like I never write inefficient code. I always think right there about, okay, what's the efficient way to do this? What's the efficient way to do that?


[User] Please transcribe this text

[Assistant] Okay, and some of them are still perfectly valid, but some of them are not as much as we think. Okay. And the siren song of those instincts is strong. And as HCI researchers, I think a lot of the time we need to work hard to overcome those. And that was part of the


[User] Please transcribe this text

[Assistant] These two things are possible or probable right now, but one of them is way more probable than the other. You're gonna do one thing, but if it's like, this is just barely more probable than the other, uh, maybe you're gonna need to act differently. Okay, and so those probability distributions are very important.


[User] Please transcribe this text

[Assistant] Okay, and particularly we don't want to let, uh, recognition errors that happen early


[User] Please transcribe this text

[Assistant] Uh, recognition error early. It can basically take you straight off into the weeds and things crash. Okay? And you need to defer those kinds of decisions until you have enough information and know when you have less uncertainty, you have enough, uh, or you have a low enough uncertainty to be able to act, uh, appropriately.


[User] Please transcribe this text

[Assistant] And then we also want to be able to provide feedback to the user about the uncertainty that the system has. The user is probably not uncertain at all. They know what they're doing. The system doesn't know. But being able to somehow feedback to the user that the system doesn't get what you're doing right now is immensely valuable in this setting.


[User] Please transcribe this text

[Assistant] And again, we need some model of the uncertainty to do that. Probability distributions are good. Alright, so let me show you a little video.


[User] Please transcribe this text

[Assistant] I'm actually going to stop this for a second. So there's something missing here. This is a fairly conventional drawing tool. As you'll see, you can draw lines and, and primitives, and it's going to do a little of straightening up here. But what's missing in this picture? There's no palette.


[User] Please transcribe this text

[Assistant] There's a little set of operators here, you just do it.


[User] Please transcribe this text

[Assistant] You don't really think much about uncertainty at all. There's tiny little bit of things that you need to add to this. Mostly you write the one interface that is based on a certain possible, you know, on certain input.


[User] Please transcribe this text

[Assistant] What else could we possibly do, uh, when we've got probability distribution? So there's a bunch of other stuff we can do, but there are some future possibilities I want to talk about as well. So maybe there's a PhD number four somewhere down there. Uh, these have been about 20 years apart and we're probably not going to get to


[User] Please transcribe this text

[Assistant] Okay, cut latency down to nothing. How do we do that? Well, if we have a probability distribution of what's going on, maybe we can figure out the three to five most


[User] Please transcribe this text

[Assistant] Okay, and in fact we can turn that dial a little further. We can do negative latency interfaces. Okay, we can know before the user tells us what they want to do, what they want to do, uh, with, with some probability, uh,


[User] Please transcribe this text

[Assistant] Uh, to do this, but if we can do appropriate interaction techniques, we can, uh, provide things faster, uhm, and get things done, uh, with essentially negative latency, which is an interesting concept.


[User] Please transcribe this text

[Assistant] So I said we're gonna do three exemplars, let's move to number two.


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[Assistant] Can we be even more ubiquitous than we are today? Okay? And I think at this next level, uhm,


[User] Please transcribe this text

[Assistant] Think about disposing of a piece of paper, because that's how we're gonna do it. Okay, can we make it paper-like? Can we make interactive, useful interactive devices for 20 cents, let's say.


[User] Please transcribe this text

[Assistant] Okay, not tens of dollars, not hundreds of dollars, 20 cents, can we do that? And of course I'm going to say the answer is yeaah, we can do that. Uhm, so.


[User] Please transcribe this text

[Assistant] Okay, uhm, so, yes, we can provide computation, buuut, that's not gonna, that seemed like, you know, one of the big hurdles to getting under 20 cents, but not anymore.


[User] Please transcribe this text

[Assistant] Alright, but we need to remember that Moore's Law is great, but not everything scales, uh, the way Moore's Law does. The way transistors have scaled. And in particular, I think we all know batteries do not scale, uh, in that way. They've been scaling much more linearly.


[User] Please transcribe this text

[Assistant] Okay, and so it's not the computation, it's not having a computer anymore that's the problem, it's power. Okay, but it turns out that there are some interesting corollaries to Moore's Law, uhm, and several of these, uh, Josh Smith


[User] Please transcribe this text

[Assistant] And so our power consumption is going down very rapidly.


[User] Please transcribe this text

[Assistant] Uh, you already have this, you're carrying with you now, uh, cards that have in them RFID tags. And these tags don't have power in them, but they have a little bit of computation.


[User] Please transcribe this text

[Assistant] Now these are relying on an external power source. There's a reader which is supplying RF energy through the air. Just enough to get us over the threshold to be able to power a little bit of electronics and to be able to, importantly, communicate back and forth. Okay.


[User] Please transcribe this text

[Assistant] Uh, by doing ambient backscatter signaling techniques. So there's RF energy coming, uh, through this space constantly, uh, probably from all our phones, if nothing else, wifi.


[User] Please transcribe this text

[Assistant] TV, radio, uh, there's a small bit of power there and you can pull out a small bit of that power. Probably not enough. In some cases it's enough to actually run a computation, but we don't necessarily need to do that.


[User] Please transcribe this text

[Assistant] So it's possible that we can do things without, uh, interesting devices without having any, uh, power on the device at all, or even power in an external reader. Well, you're gonna need a little bit in the receiver, I guess. Uhm, okay.


[User] Please transcribe this text

[Assistant] So, can we do this? Uhm, so again a couple of, uh, now re- very recently graduated PhD students have been working on some parts of this.


[User] Please transcribe this text

[Assistant] And, uh, again to look at interactive devices where the user's action, the mechanical action of the user reconfigures an antenna, in this case an antenna that is literally printed on paper.


[User] Please transcribe this text

[Assistant] Uh, and we connect or disconnect elements of that, uh, antenna for example. Okay. So then that opens up a bunch of interesting questions of how, how do we make these, how do we interact with them, what kind of devices are possible. Okay.


[User] Please transcribe this text

[Assistant] Uh, he knows a lot. So we did an interesting project there and there's a nice demo video here with typical high, uh, production values from Disney that shows you what's possible. And these are done with RFID.


[User] Please transcribe this text

[Assistant] Uh, and then there's a bit of simple machine learning underneath that to look for that particular interaction.


[User] Please transcribe this text

[Assistant] Uh, not, not quite that much, but it's an expensive thing, which is why I talked a little bit about Amiant Backscatter. But, uh, there's a reader off-screen which is introducing RF, uh, and, uh, inducing enough power in the tag that it basically can


[User] Please transcribe this text

[Assistant] Absorption high and low of that antenna, and if you think about like high or low, that's gonna get you one, and you can sense that from the reader, uh, that's gonna get you one bit. And then you build a huge protocol on top of icons, I can transmit one bit.


[User] Please transcribe this text

[Assistant] Uh, and sort of look down. Sometimes we put it under the table or we just sit it off to the side.


[User] Please transcribe this text

[Assistant] It communicates back and identification and so one of the things that's happening is we are, if you put your finger on things that may be causing a tag to either start or stop operating and so it will start or stop, uhm,


[User] Please transcribe this text

[Assistant] Producing its identification to the reader and then we can translate all that into, you know, which tags are in which piece of the device and we can translate all that all into user interface actions.


[User] Please transcribe this text

[Assistant] Yes, the reader, uhm, sends and also senses how much of the RF energy that it is sending gets absorbed by the tag versus scattered somewhere else.


[User] Please transcribe this text

[Assistant] Uh, or existing technology pushed in new directions, is what we really have here, can push the boundaries of problems that we used to be working on in new and interesting ways. This is something that in the WIS community is like bread and butter. We're constantly looking for new technology which allows us to solve old problems. Okay. And so this is new solutions to old problems. So now I want to go to exemplar number three.


[User] Please transcribe this text

[Assistant] And here I want to talk about going beyond the UB comp notion of colonizing the world with computation. And I want to talk about...


[User] Please transcribe this text

[Assistant] A new capability of actually making the world with computation.


[User] Please transcribe this text

[Assistant] And this is probably what I'm most excited about from research directions these days, which is new digital manufacturing, uh, capabilities. 3D printing is the one of these that is probably most common in people's minds.


[User] Please transcribe this text

[Assistant] Okay, uhm, these are starting to make it possible to fabricate a really wide range of objects


[User] Please transcribe this text

[Assistant] Based on things that we design in the virtual world. So we can think of a design, we can draw it on the screen, but purely virtually. We push a button and it appears. Well, it's never that simple as somebody who 3D prints all the time. It's not just pressing a button.


[User] Please transcribe this text

[Assistant] But there is a path to get me from my computational representation to an actualized physical object.


[User] Please transcribe this text

[Assistant] Uhm, it's gonna, it's gonna change, the silver shape is an antenna and you're gonna change the antenna's properties. Most of the time we're talking about shifting the resonant frequency.


[User] Please transcribe this text

[Assistant] And so manipulating that shape, like adding a new piece to it, uh, will change its resonant frequency and change whether it reports or not.


[User] Please transcribe this text

[Assistant] Right. So lots of folks, including me, uh, are working on new types of materials and printers. Okay? Doing all sorts of interesting new stuff.


[User] Please transcribe this text

[Assistant] Uh, there is a lot of really interesting work to do there. Uh, lots of interesting things we can do now. Uh, and there's a tremendous growth in what we can print. And in fact, my favorite is down at the bottom here. This is Adam Feinberg's at CMU's work.


[User] Please transcribe this text

[Assistant] You can basically populate this with cells, uh, and so it's 3D printing of a human heart. That's one of the things, that's what Adam's real goal is. And I have to say that, you know, the best and coolest thing I could possibly think to print is spare parts for me. Okay.


[User] Please transcribe this text

[Assistant] I would say that in addition to this sort of expansion of what we can do these days, uhm, there's much more potential advance by taking a very classic HCI approach. And that is to enable a much wider set of users to make use of a very powerful technology.


[User] Please transcribe this text

[Assistant] Okay, and we don't really use that word very much anymore, but, uh, very old fashioned, but a lot of modern graphical user interfaces really came out of solving this problem or producing this thing, which was desktop publishing.


[User] Please transcribe this text

[Assistant] Alright, so once upon a time, creating a high quality document was the domain of sheer, exclusive domain of a certain set of professionals, typesetters, uh, book designers, that sort of stuff.


[User] Please transcribe this text

[Assistant] Alright. But much more importantly than our ability to produce documents was really all of the things that came with that that were unimagined. So the goal was to be able to make it so we could produce documents. That's what Xerox PARC was trying to do with the star and the precursors to that.


[User] Please transcribe this text

[Assistant] And we are in, I feel like we're in a similar situation today or we can see an analogy. So the technology is there and it's affordable for 200 bucks. You can buy a printer, a 3D printer that will print quite well.


[User] Please transcribe this text

[Assistant] Actually it prints as good as the printer we had bought sort of, uh, maybe a decade before that that cost $30,000.


[User] Please transcribe this text

[Assistant] Uhm, but the problem is that the design of functional objects, if you go to functional objects as opposed to like, uhm, baby Yoda's, uhm, requires a lot of skill, alright.


[User] Please transcribe this text

[Assistant] Uh, and it requires a lot of skill in different areas including 3D modeling, but it goes well beyond that. Uh, you need a lot of knowledge of materials, strength of materials, uhm,


[User] Please transcribe this text

[Assistant] Uhm, makes this an HCI problem. Okay, I think some people have questions whether fabrication is an HCI problem. It's an HCI problem.


[User] Please transcribe this text

[Assistant] Okay, really doing what we wanna do. So if we can abstract and encapsulate these capabilities, we can produce a revolution, uh, in making of things, which I think can parallel the kind of revolution that we saw in desktop publishing.


[User] Please transcribe this text

[Assistant] Alright, so that's my pitch for why you should pay attention to that. Now why does this have to do with Moore's Law? Okay?


[User] Please transcribe this text

[Assistant] Well, an important approach to making this happen is going to be in generative design, and in particular interactive generative design. So we've seen a lot of work in generative design, but often it is sort of very batch oriented. You sort of specify, and by the way, generative design


[User] Please transcribe this text

[Assistant] The design. We're gonna let the system generate that. But a lot of current generative design is very essentially batch oriented. You say what you want, it produces a design, you take it or leave it. Okay? Uh, if you want, if you don't like it, you have to go back and change your description of what you wanted. Okay? You can't really interact with it. Okay?


[User] Please transcribe this text

[Assistant] Now, a lot of, uh, generative design gets done through optimization, and it turns out optimization is very capable of consuming every bit of CPU power that we can deliver to it today. But remember what's coming, okay. So, uh, we are now starting to see enough computational power, uhm,


[User] Please transcribe this text

[Assistant] That we can start to think about using this in an interactive setting where the user really interacts with the process.


[User] Please transcribe this text

[Assistant] Uh, which means we have to run at very fast rates. We have to run at interactive rates, not sort of in a batch setting. Alright, so here's an example. This is from Anthony Chen's dissertation work.


[User] Please transcribe this text

[Assistant] Uh, so we're going to start with an example here. If we want to design this leg on this quadruped robot, it needs to touch the ground here and have enough strength to hold that leg. And we're going to provide a force here. Alright, and we're going to have a little simple tool. We're going to say, well, it kind of,


[User] Please transcribe this text

[Assistant] Uhm, and then based on this sketch, uh, and the loading scenario that's in this sketch, we're gonna have the system generate, uh, and this, as we start here, we'll speed this up later, but this is now in real time, uh, we're gonna have the system generate, uh, a design. So this is, if you know about this, this is topology optimization here. These are all gonna end up being, uhm,


[User] Please transcribe this text

[Assistant] Number three says, okay, stay within these bounds. So you maybe this, uh, thing has to attach to something else or it needs to not hit something, uh, stay within these bounds, uh, produce something that has very high strength to weight ratio is what we're basically looking at.


[User] Please transcribe this text

[Assistant] Okay, now there's also an interactive element, more interactive element to this. We can come along and say, well, I want this to be more similar to what I had before or less similar to what I've drawn. So this is a high similarity one and we're gonna just take that slider and say, well, okay, you can go a little further from what I said.


[User] Please transcribe this text

[Assistant] And you'll see it produces a little bit different design that is further from what the user originally specified. And all of our designs are sort of the possible designs are stacked up there and we can select them and so forth.


[User] Please transcribe this text

[Assistant] Okay, and you can also come in and edit and say, well, I don't want so much material here. And this isn't just like saying you can't put material here. This is really a hint to the system and the optimizer that I want less material there.


[User] Please transcribe this text

[Assistant] I want less material there and you can see it goes back and tries to do that. You can also come in and say I want more material here. Okay, so it's gonna come in and draw, say I think there should be material here and the system really comes back and says well, no you don't really need that.


[User] Please transcribe this text

[Assistant] Uhm, okay, so these are really hints, uh, to the system. They are not sort of commanding that it must be like this. So here's an example of a full use of this. Now unfortunately right now computationally we can only really do this in 2D. I think that's true of everybody. And, but we're gonna do a bicycle seat here.


[User] Please transcribe this text

[Assistant] So here's the physical instantiation of that result as a little table. Alright, and lots of other things, but we're going to stop at this point and move on. No, really, there we go.


[User] Please transcribe this text

[Assistant] Alright, so the lesson that I want to sort of bring forward with this is that the big win here is going to have come from empowering a lot of new people. This is a classic


[User] Please transcribe this text

[Assistant] Uhm, HCI theme applied to a new area. Okay, empowering a set of people. And this will likely result, uh, in a wide set of really great but really unexpected results, I think.


[User] Please transcribe this text

[Assistant] So, let me wrap this up since I am in fact running late. Implications of all this.


[User] Please transcribe this text

[Assistant] How should you be thinking differently as an HCI researcher? Well, I think one of the ways in which you should be thinking differently is that you need to be thinking, you are not thinking big enough with respect to how much computing power you can put into the interface in service of the user.


[User] Please transcribe this text

[Assistant] We need to think bigger. Now it's the case that order n cubed and worse algorithms are still not gonna work.


[User] Please transcribe this text

[Assistant] Okay, don't forget that, alright. But a lot of what we do does not fit in that. And our CS intuitions about efficiency are really getting us into trouble. They are leading us astray. Alright.


[User] Please transcribe this text

[Assistant] Just burning CPU cycles in, in service of the user. Not for no reason at all. And not just burning them, because I'm a CS person. I don't want to be inefficient. But we want to think about really applying a lot more computing power than we have. Alright, now, I'm almost done.


[User] Please transcribe this text

[Assistant] Okay, and my favorite example of that is this here, which is a picture from Steve Finer's Touring Project 1997. Alright, what do we have here? We have this person all sort of suited up in this getup. First off, we can look at this and say, is that usable? No, not even close.


[User] Please transcribe this text

[Assistant] There is a really big laptop strapped to that backpack. Uh, so in mobile computation there was a handheld display with input. This was pen input at that time. Uh, cause that's what we thought was gonna be good and that's what we had. Uh, and then there's this experimental wireless communication. What does all that put together make? Okay. Makes a smartphone.


[User] Please transcribe this text

[Assistant] Alright, and so we need to remember that in order, uh, for us to get that smartphone, we need to do this. Okay, to do thi- we need to do that to get that.


[User] Please transcribe this text

[Assistant] Alright, we need to be able to explore things before that. And so our sort of methodologies and our intuitions from HCI are also getting us into trouble. So I think there's a second order lesson here, which is our methodologies that we use for all sorts of things are very well evolved.


[User] Please transcribe this text

[Assistant] Now the fact of the matter is that because they are evolved, they serve that context and that time very well. But...


[User] Please transcribe this text

[Assistant] Sort of in a very, uhm, considered way, but they get passed on as the right thing to do methodologically. You learn from your advisor as a PhD student the right way to do research. And that encapsulates a set of evolved methodologies that serve a particular set of values very well.


[User] Please transcribe this text

[Assistant] But again, they get passed on as the right way to do things without a lot of examination. And I say that this, uh, is getting us into trouble.


[User] Please transcribe this text

[Assistant] Uh, and in particular gets us into trouble in an interdisciplinary setting where we have multiple possible sets of values, multiple possible contexts, multiple possible goals. HCI clearly is in, uh, in that setting. And especially when things are changing very fast.


[User] Please transcribe this text

[Assistant] Uh, and my whole thought experiments around Moore's Law is pushing towards things are changing very fast.


[User] Please transcribe this text

[Assistant] Okay, but most of all, I want you to come away remembering that you are here.


[User] Please transcribe this text

[Assistant] All the cool and good stuff hasn't happened yet. All the big change is in front of you, it is not behind you. Okay, uhm, and with that I am over time and will stop. I don't know what I should do about questions.


[User] Please transcribe this text

[Assistant] Uhm, there's a bunch of interesting things I think we can do with new computational fabrication techniques. I don't believe that's the answer to that question, but it's the answer that I use for myself.


[User] Please transcribe this text

[Assistant] Hey everybody, I'm Cinnamon Cooney, your Art Sherpa, and today we're celebrating the completion of an art journey that we have taken together.


[User] Please transcribe this text

[Assistant] So today is the culmination of a series of videos that we started October 30th and we have been meeting pretty consistently since then about the beginner acrylic painting journey.


[User] Please transcribe this text

[Assistant] This is everything that you just needed to know as a beginner so you can start enjoying that painting process sooner.


[User] Please transcribe this text

[Assistant] And maybe take about two years of the aggravating learning process off of that curve, that learning curve. So we had, uh,


[User] Please transcribe this text

[Assistant] Intro videos, we had the intro, we had seven, uhm, kind of technique and concept videos, and then we had ten of the first acrylic paintings.


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[Assistant] And we're gonna go over a bunch of stuff in this celebration party, but first everybody give yourselves a hand because no matter where you are today, something you might not know, we have 10,000 people somewhere in this art journey.


[User] Please transcribe this text

[Assistant] Really? We have 10,000 people going through the program. Some of them are done. Quite a few of them are done.


[User] Please transcribe this text

[Assistant] But some of them are just starting and if you're seeing this on replay, you may have found this years later and have gone through it.


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[Assistant] So this party is for everybody, wherever they go. We're gonna all celebrate together today, even if you haven't gotten all the way to the corgi bum.


[User] Please transcribe this text

[Assistant] We're gonna have the party, and then you're gonna finish


[User] Please transcribe this text

[Assistant] At a pace that's comfortable for you. Because I have to upload things


[User] Please transcribe this text

[Assistant] For YouTube, you don't have to paint at YouTube's pace. You can paint at your own pace, that's perfectly okay. Today I'm gonna tell you, uhm, how you can get your certificate.


[User] Please transcribe this text

[Assistant] We're gonna talk about, so it's so good to see everybody. I see Ambient Landscapes and Ashley and Grace and I see, uh, I hope I'm saying this right. Uh,


[User] Please transcribe this text

[Assistant] A Noor Torquer, I see moderator Lou, thank you for coming and Tim and Sandy and Tricia.


[User] Please transcribe this text

[Assistant] I really wanted to make sure that this program was something that was, uh, would fit into all year, so we didn't really do any holidays or anything, we like just did great paintings for all year. And the idea was to get you guys to that basic level of knowledge, right?


[User] Please transcribe this text

[Assistant] Like for real, like a basic level of art knowledge that when you go into the art store, uhm,


[User] Please transcribe this text

[Assistant] You can shop and you can buy what you need. And if you're taking a course, you can, um,


[User] Please transcribe this text

[Assistant] It's a party. Cause you did it. You did it. You painted the paintings. Uhm, so first things to know, the moderators are gonna have a link. You can see it in the description below. And it's on the beginner.


[User] Please transcribe this text

[Assistant] Acrylic painting page. And at the end of this video, we walk through everything we've accomplished.


[User] Please transcribe this text

[Assistant] I will actually take you a video walkthrough of how to do the quiz form to get your free certificate. So there's a free certificate.


[User] Please transcribe this text

[Assistant] And that free certificate, when you complete the form and upload your paintings, you can upload them as a single image, or you can upload them individually, or you can upload them as a video. I'm completely fine with that.


[User] Please transcribe this text

[Assistant] But you'll get an email with a link and you get a certificate, which you see here printable one that you fill out yourself.


[User] Please transcribe this text

[Assistant] And a Facebook profile pic, which I have optimized in a Facebook banner. If you're a Facebook person, you can also just use them anywhere you want. Print them out, whatever you want to do with them is completely fine.


[User] Please transcribe this text

[Assistant] Uhm, and that's just available to you whether you found this video and you came through from October 30th to now November 27th or you just found us through


[User] Please transcribe this text

[Assistant] The time travel of YouTube and you're like, I just finished now, can I still get the certificate? Yes, you can.


[User] Please transcribe this text

[Assistant] So we'll walk you through that process at the end and tell you all the most important things right off the bat. For those of you guys who love to get on things right away, because I know you exist out there. Just make sure you give us an email that when we reach out to you, you receive the email.


[User] Please transcribe this text

[Assistant] I'm not selling it to anybody, I'm not doing anything with it, and the part where we even ask to maybe share your artwork or your story or your feedback, that's an opt in or out.


[User] Please transcribe this text

[Assistant] Selections. You just don't have to worry about any of that stuff. Uhm, you know, really, it's been kind of a journey.


[User] Please transcribe this text

[Assistant] There is this art journey, there's these first steps and there's nothing more amazing than being a beginner and


[User] Please transcribe this text

[Assistant] Having a fully empty cup, uhm, artists that come into this ready to take in all the information.


[User] Please transcribe this text

[Assistant] Uhm, it's such an honor to get to be that initial guide because, uh, if I give you guys flexible enough thinking.


[User] Please transcribe this text

[Assistant] If I help you guys figure out the core fundamentals of what makes your process work.


[User] Please transcribe this text

[Assistant] If I give you these really essential introductory ideas and techniques and skills.


[User] Please transcribe this text

[Assistant] And not only can you paint with me, on my one hoop paintings and two hoop paintings pretty easily,


[User] Please transcribe this text

[Assistant] But you can go other places and not have an experience of feeling, uhm, like you're out of place, like a fish out of water.


[User] Please transcribe this text

[Assistant] And eh, right now I'm letting John get some coffee. I'm gonna go over to YouTube for a second and say hi, this is Live Live Today.


[User] Please transcribe this text

[Assistant] Live, live, live. And I want to say thank you to Jennifer Bowman for thanking us for the amazing course.


[User] Please transcribe this text

[Assistant] And welcome LL to Custom Emoji Chat. You guys have a one hoot emoji.


[User] Please transcribe this text

[Assistant] Plus, you know, I make emojis every time YouTube gives me a new emoji or we update them for you know what we're doing. Uhm, this has been


[User] Please transcribe this text

[Assistant] Bigger than I expected and John expected, uh, we just thought we were asking ourselves what could we do for you guys coming into the holidays, uh, and what could we m-


[User] Please transcribe this text

[Assistant] Gift to the, to our art community that would be the most useful coming in and that was just revisiting those beginner core concepts that we initially looked at in the Big Art Quest in 2016. It might have been earlier than that.


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[Assistant] It's been, it might have been 2015-2014. We've been at this a minute. For those of you that remember pears. If you were one of the original Big Art Quest pears, throw up your two pears and do your pear groaning.


[User] Please transcribe this text

[Assistant] Uhm, I see many of you guys talking about the fullness of your cup.


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[Assistant] I'll tell you, uhm, if you're an artist or starting out artist or an experienced artist, my biggest advice to you is, uhm, never be rigid in your thinking.


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[Assistant] And always approach things like you're new, really open, really ready to absorb it like a sponge.


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[Assistant] There are a few things for safety tips in the studio that we have to be real cautious and present to, but I think everything in art, the more that we can be open minded, the more that we can be flexible in our thinking,


[User] Please transcribe this text

[Assistant] The more it benefits us in our personal creative practice because we never get painted into a corner.


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[Assistant] Uh, yeaah, actually doing what no other teacher does on YouTube and coming across other platforms for that matter for free! So I do want to say this, and we're gonna say this at the end, this is free to the world. We're in 250 countries. Uhm, that's perfect, just leave that there for a second. And, uhm.


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[Assistant] It is our mission to share art with people because I think people are better when they're creative. Just overall. I don't know what's the right answer for other people. I know what the right answers are for me.


[User] Please transcribe this text

[Assistant] But I know that because I have time to be creative and so I can hear myself think.


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[Assistant] And I believe that in a creative process, individuals can hear themselves think and hear


[User] Please transcribe this text

[Assistant] And tune out the noise of the world and start to hear what their personal truth is. And I think more now than ever, being able to hear ourselves think and get back


[User] Please transcribe this text

[Assistant] To our reasoning and getting back to our logic and really understanding who we are and what we need in a compassionate, connected way. Art can give that gift.


[User] Please transcribe this text

[Assistant] And that's such a fluid thing for all over the world because we all have such different needs. I think it's really something we can do. We do that with the help of patrons.


[User] Please transcribe this text

[Assistant] We have the weirdest patronage I think out there and our patrons are amazing and they are the ones who make these programs possible and make it so that we can just work like crazy all November.


[User] Please transcribe this text

[Assistant] Uh, and do a program like this. So I just love the patrons.


[User] Please transcribe this text

[Assistant] And I want to thank everybody and Diana Reilly. Thank you. Great teachers Cinnamon John. Love how you guys share our wisdom. Thank you guys so much. I really appreciate that. So the course at the beginning in the beginning.


[User] Please transcribe this text

[Assistant] After having done the big art quest many years, uh, through several editions, after having done


[User] Please transcribe this text

[Assistant] Three acrylic April's, I can't believe we're going to be coming up on year four this April. I'm already starting on it.


[User] Please transcribe this text

[Assistant] One of the things that we learned that everybody needs is this intro course, which is how to find it.


[User] Please transcribe this text

[Assistant] What it is? What to expect? What materials do you need? What exchanges can you have? Where is anything on the website? Where are my resources?


[User] Please transcribe this text

[Assistant] So that was the first big new thing that we kind of introduced to this course. And the intro video really did showed you how to find everything on the website, gave you three or four or five different locations.


[User] Please transcribe this text

[Assistant] That your resources could be stored. And we also created a new landing spot on the website for the beginner acrylic course that is your one and done click space.


[User] Please transcribe this text

[Assistant] So that was really important and new to this. Uhm, and you know, I actually planned a curriculum.


[User] Please transcribe this text

[Assistant] Uhm, really cohesively, when I did the original Big Art Quest, it was sort of like, loosey goosey. I'm like, what do we want to learn about this week, friends? But this time I'm like, alright, been on YouTube seven years, I know there's some stuff you guys need to know.


[User] Please transcribe this text

[Assistant] So this told you guys when to expect the classes, where they were, where your resources are, what's going on. And going on!


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[Assistant] Moderator Cat Red, yea, Big AQ is 2016. It was, it was some early days, wasn't it? I don't know what I had going on. Alright.


[User] Please transcribe this text

[Assistant] Next one. So then uhm, the first thing I got into was how to set up your home studio.


[User] Please transcribe this text

[Assistant] And there were, I made a list of my wish list of things that I wanted to share with you. What I wanted to cover.


[User] Please transcribe this text

[Assistant] Of course the first big one is, uh, do you need to be sitting or standing? Do you need an easel or a table? Uhm.


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[Assistant] Stuff about safety and positions about not hunching over your artwork and painting on a pillow or on the floor hunched over.


[User] Please transcribe this text

[Assistant] Why easels or tilts or things like that were important. We talked about light and we really got into light because lighting is one of those hidden things that can cause you problems.


[User] Please transcribe this text

[Assistant] Uh, in the beginning, that's so fixable and so changeable. It's so transformative. So I wanted to talk about lighting. I wanted to give you guys an idea of easels that I liked, about how to consider your space.


[User] Please transcribe this text

[Assistant] Uhm, concepts about safety with pets and family. I wanted to make sure that we had a segment talking about, uhm, adaptive


[User] Please transcribe this text

[Assistant] Uh, art supplies so that if you had any mobility.


[User] Please transcribe this text

[Assistant] Um, limitations for whatever reason that you understood there was this whole segment of art supplies and resources.


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[Assistant] Uhm, you know, across the board and kind of introduce that concept.


[User] Please transcribe this text

[Assistant] I think if I do this again I'll go deeper into that a little bit because the feedback was, I just assumed I was saying something everybody knew.


[User] Please transcribe this text

[Assistant] But apparently not, so I'll definitely go into those resources deeper, if I do this in the future. Hmm?


[User] Please transcribe this text

[Assistant] So, uh, I wanted to go into that. I wanted to talk about, uhm,


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[Assistant] Paint water disposal, which is the first time I touched on that, which of course panicked everybody.


[User] Please transcribe this text

[Assistant] But it, it's a good beginning. Uhm, and again if I do this again I'll probably demonstrate paint water disposal.


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[Assistant] I've learned even from this course. Every time I do a course with you guys, I learn.


[User] Please transcribe this text

[Assistant] I evolve, I understand concepts that maybe I didn't.


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[Assistant] We go through a course and I'm like, oh man, I need to change like five things like next time so much. So these are ever evolving, iterative, like our paintings.


[User] Please transcribe this text

[Assistant] Right? They're ever evolving, iterative journeys. Like.


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[Assistant] For me, this whole course, my biggest predominant feeling was if I had a TARDIS and I could go back in time and just start my YouTube channel over here.


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[Assistant] However, wisdom is that gift. I'm ready to go on. And then we wanted to talk to you guys about acrylic paint. Because you guys need to know about the paint. I will let John follow us up. So we talked about.


[User] Please transcribe this text

[Assistant] The things that beginners don't know they need to know about acrylic paint. Stuff like levels and tiers and bodies. Uhm, common problems, how to read tubes, how to understand safety information. Uhm, we talked about primary palette, like how you would set that up.


[User] Please transcribe this text

[Assistant] We kind of went into just what you've got to know about acrylic paint. And there's a lot to know.


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[Assistant] There's such a variety of acrylic paint, and it, it, it mimics, it's such a chameleon in its nature, it mimics so many other mediums, and it's so versatile, and when it's great, it's so great, and when it fails, it so fails.


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[Assistant] And just understanding, uhm, what you as a consumer are up against. And I did make some recommendations in this particular video on


[User] Please transcribe this text

[Assistant] Companies that I personally recommend. And it was interesting because uhm, my non-recommendation


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[Assistant] I ended up ringing as loud as my recommendation, which I don't know how I'll correct for if I do this again, but I definitely want to correct for it, because sometimes I just haven't tried to paint.


[User] Please transcribe this text

[Assistant] So I don't know if I can recommend it or not. I have brands that I know I can recommend at this moment.


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[Assistant] Who are quality, who are consumer focused, who really come through.


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[Assistant] And who I don't see a lot of complaints about in group.


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[Assistant] And then I have brands that I'm familiar with. Maybe there's something going on with them right now. Maybe there's a lot of complaints in group. Maybe there's, I've had some consumer issues with them.


[User] Please transcribe this text

[Assistant] I can't really at this moment recommend them, but it doesn't mean that that's true forever. So that was an interesting thing, that my recommendation as well as my non-recommendation was soooo...


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[Assistant] Like, it resonated with you guys so much. Let's take a- I'm gonna take a look real quick at YouTube, unless you've got some stuff for me, John. I don't know. Let's see here. And if you're on Facebook, HI! I'm on Facebook!


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[Assistant] Uhm, Darlene says, I cannot thank you enough for coming into my life. And Darlene, I can't thank you enough for coming into our lives. All of you guys have changed our lives as well.


[User] Please transcribe this text

[Assistant] Oh, uhm, is there mini books for the intro, mixing paints and so forth. So we're getting, these mini books were harder to put together.


[User] Please transcribe this text

[Assistant] Because uhm, they just were. It was weird. We are there.


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[Assistant] They're, they're probably gonna be releasing in big chunks is what it's gonna be. We have two out.


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[Assistant] Whenever there's a course where people come through with me in real time.


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[Assistant] They're like pioneers, man. They're doing it without mini books. They're doing it without every resource. It's true. If you're not aware, mini books are written out.


[User] Please transcribe this text

[Assistant] Uh, companion to the videos that are free for you to download.


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[Assistant] Actually, I started in December, I think, and it- Yeah.


[User] Please transcribe this text

[Assistant] At the end of the year, so you guys have some sense of how many paintings we did.


[User] Please transcribe this text

[Assistant] And how many mini books there are now because it kinda freaks me out.


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[Assistant] Mine gave me so many problems. You know, the thing is like with paint, it can be, it can be our greatest issue, right? Like the paint can be a problem.


[User] Please transcribe this text

[Assistant] You know, it definitely can be kind of an issue. All right, let's go on and get back into my little notes, because now I've learned to do these live things with notes.


[User] Please transcribe this text

[Assistant] Alright, then we went into canvas, panels, and acrylic paper.


[User] Please transcribe this text

[Assistant] Learned a lot from this video. I wanted to cover a lot of information. Give you guys like, just hey, what are the parts of a canvas? What are those wood things in there?


[User] Please transcribe this text

[Assistant] Uhm, do you need a gesso? How do you finish paper for painting and then how does that apply to making your own canvas for mason?


[User] Please transcribe this text

[Assistant] And we covered some stuff. Interestingly enough, things that threw people.


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[Assistant] Uhm, was when to gesso, when not to gesso, when the gap was important and, uh,


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[Assistant] What's the gack? What's the gack? What's the door lense? So I, I definitely uhm, if we update this edition, I will go into that deeper. I feel like we covered it though.


[User] Please transcribe this text

[Assistant] I do feel like we covered it, I don't feel like you're missing any information, but I think that that's, those are the questions that I answered most.


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[Assistant] Whenever I have a video and I get a lot of questions, those go into the sort of filing system for me.


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[Assistant] To make sure even as I go forward teaching in my regular classes that I add that information as a question.


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[Assistant] In the ether that I know is out there and I can preemptively answer it for a viewer. So that's the other reason these kind of courses are great for me, because I can sit there and give that extra little bonus of information and that blurb that I do in a video. So we covered that, covered Dorland's wax, covered, uhm,


[User] Please transcribe this text

[Assistant] You know, just those fundamentals. The fact that you can paint acrylic on paper like watercolor. We demoed.


[User] Please transcribe this text

[Assistant] Uh, prepping paper two ways with the three coats of acrylic and the GAC and the Gesso.


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[Assistant] I think, uh, it's unclear for a lot of people why it's there and when it needs to be used and when you can skip it and why you even have it and how you modify it and what, like.


[User] Please transcribe this text

[Assistant] I would say like, 2% of artists even out there know what the best gesso's on the market are and why.


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[Assistant] They're awesome. So I may sometime in the future do something about that and share that information with you.


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[Assistant] Otherwise you just stand there hopelessly in the art aisle going, just so, just so, just so do I need it?


[User] Please transcribe this text

[Assistant] Says surface prep. Do I need to prep all surfaces? Is this surface prep?


[User] Please transcribe this text

[Assistant] Does it make a difference? And then, and then when you use it and it does something like make your canvas thirsty and you're like, I hate gesso.


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[Assistant] You know, and you have all these experiences. So I think that these courses are such an opportunity to get us into a conversation. It's important for us as creatives. Uhm, because I don't want to just show you how to do an easy painting. Right? Uhm.


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[Assistant] I wanna show you how easy paintings are done. I wanna show you how you can make your own. I wanna show you how to be your own painter. Not paint like me, but to paint like you. So, this kind of stuff is very foundational for that.


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[Assistant] Uhm, and that was really good. I'm ready to go on to brushes!


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[Assistant] So much to say about brushes. Brushes being such a frustrating thing for artists because


[User] Please transcribe this text

[Assistant] You take this class, you realize there's no standards. So it's just very...


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[Assistant] Emotionally things are labeled. Some companies are very like respectful of the buyer and they like really use like some sort of consistency across lines and handles.


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[Assistant] We talked about long handles, short handles, filaments, where they come from, how they're made.


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[Assistant] What you guys need to know what you're looking for. We match like what brush goes to what type of paint.


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[Assistant] And what you'd want to use for having a body paint. What the shapes are and what the different shapes are for.


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[Assistant] Like what would you use that brush for? Why is there a difference between a flat and a bright?


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[Assistant] Uh, parts of a brush, like we really came out knowing a core amount of brush information, which


[User] Please transcribe this text

[Assistant] When you know this, then you know you've got to go as a consumer as much as possible in store to feel things so you can figure out your favorite brands and then buy online because it's so impossible to buy this stuff blind.


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[Assistant] Alright, then we went on to painting techniques every beginner needs to know. And you guys really need to know all these painting techniques. They're really important for just being able to do your first paintings.


[User] Please transcribe this text

[Assistant] You know, it's like learning the alphabet. You're ABCs. It's just, these are the ABCs of what makes everything come together. And uhm, that's always fun to put together because, uh,


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[Assistant] And I didn't expect this, but again and again and again I was really pleased to see that there were things that artists who had been painting for a minute got out of it.


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[Assistant] That's the thing that I took away from this course I didn't expect. Artists have been painting for a minute, got something out of it.


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[Assistant] You know, uhm, I feel like I have a good amount of knowledge that I've accrued it and like garnered it together and I do feel like in social experiences with other artists I feel like I always have a gem or two to drop. But it was nice to see that that was true remotely.


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[Assistant] Uhm, and it felt really good to see that it was just helping everybody.


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[Assistant] You know, kind of shore up these core techniques, these beginning spaces. I'm gonna go back into YouTube and look at the things and look at, look at them.


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[Assistant] I like to, we learned in acrylic April, you gotta go back over what you learned, because sometimes people are so in it, they don't even know what they did. Right? Sometimes you're so in the classes, you don't realize, I did, oh gosh, it's uhm, it's almost 30 hours, right?


[User] Please transcribe this text

[Assistant] Uh, classwork that you've done. So you did some learning. This was some education and it was sequential and things built into the next thing and so...


[User] Please transcribe this text

[Assistant] There was real foundational learning here. I know I went to art school and I was not taught many of these things.


[User] Please transcribe this text

[Assistant] It was, I learned a lot. Yea, you guys learned a lot. I think that that's been kind of like fantastic. Load a brush!


[User] Please transcribe this text

[Assistant] Man, I think I could do hours of load of brush, because as we covered,


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[Assistant] Filaments of paint, filaments, bodies of paint, your studio conditions, the surface that you're painting on, the paint that you're painting with, all impact that load. And finding, and this became the most important thing, the Goldilocks Zone. What that means.


[User] Please transcribe this text

[Assistant] Uhm, when you, when you go to apply for the certificate you'll, uh, there's a bit of a quiz.


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[Assistant] Uhm, and here's a thing to know about the quiz, guys, and I should have said this right off the bat.


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[Assistant] I am not grading you. Just answer the questions to the best of your ability and upload your pictures.


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[Assistant] That's me. That's not you. That's me. And if a lot of you didn't understand the question, that's really me and I take an E on that and really think about it. Right?


[User] Please transcribe this text

[Assistant] Just answer the questions, uhm, I try to put enough humor in them. I mean, here's the thing.


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[Assistant] The purpose of the quiz is to help you take a moment in your presence and realize, I learned a lot. Like I learned all these things.


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[Assistant] It is open book and I set the quiz so that you could go back and change answers later.


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[Assistant] And I just tried to help you guys get a sense of like, oh I learned something. I helped to give me a teacher a sense of like, how things kind of, how the course worked for you guys.


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[Assistant] And then also, uhm, for you, for you guys to have a real present minute to go, yeah, it's a one hoot certificate that officially gives me, I'm now an artist, one hoot artist, right? Uhm, but guys.


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[Assistant] This is a big deal. Like you learned a lot. You did a lot of work. It's a huge deal.


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[Assistant] So that was, that's a big thing, but just know that you're not, you're not, I'm not grading.


[User] Please transcribe this text

[Assistant] Participating in these, I mean they're mandatory, like you've gotta upload your pictures to get the certificate or you've gotta answer the questions. You just don't have to answer them correctly.


[User] Please transcribe this text

[Assistant] Hello. Uh, Crystal Blake, we're gonna, um, talk about how the pictures are uploaded into the form, and then, uh, if everything fails, like what you could do to work around that, cause we're here to work with you. Oh, I see.


[User] Please transcribe this text

[Assistant] That's like important. Alright, let's go on to brushstrokes. So, you have techniques and you have all these concepts that we covered, but what to do with all that is where brushstrokes come into play. And so we covered core brushstrokes, contour, we covered


[User] Please transcribe this text

[Assistant] S-strokes, we covered curves and commas, we covered this sort of like idea and concept. Uhm.


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[Assistant] And then we looked at, how do we take those stroke concepts and turn them into things? How do they become things? How does a touch pool stroke become a thing? Right, tear tro- What's a touch-


[User] Please transcribe this text

[Assistant] Right, what is it? Like how do these teardrops, how do these things, how do these things happen? And so we just kind of covered how you take those techniques and concepts and you pull them together to create stuff.


[User] Please transcribe this text

[Assistant] And we kind of covered some core stuff that you're probably gonna, you know, you were gonna create in this course. And then the ten paintings were actually designed to help you learn these core techniques too, to enforce what you were learning through this process. So, uh.


[User] Please transcribe this text

[Assistant] D, will I finish those monthly Gnome paintings I promised for 2021? Yeah. Yeah, I am. I'm kind of a completionist. I am. They're coming. They are. They have their own place.


[User] Please transcribe this text

[Assistant] But yes, I'm gonna finish all of them. And continue on with fun stuff like that. I think what I learned from that is that I've gotta do all 12 ahead of time. So that when YouTube comes to eat my face,


[User] Please transcribe this text

[Assistant] Or it gets weird out there or family stuff happens or life happens. I have them there just to release and the whole program is cohesive. So if you ever hear me announce a program like that again, that will be the difference in that program from the, from the gnomes is that they're done ahead. And just release month.


[User] Please transcribe this text

[Assistant] But those I am getting catch up with. I've done the designs. I like them. There's a mini book that I want to produce with them and a calendar and there were things I wanted to do with the gnomes.


[User] Please transcribe this text

[Assistant] So yeaah, I'm gonna finish them definitely. And I'm also not over gnomes yet.


[User] Please transcribe this text

[Assistant] Alright, so then we went on to color mixing. This I think I'm the most proud of, of the whole series. I was proud of everything, but this I'm the most proud of.


[User] Please transcribe this text

[Assistant] Bridge that gap of how you read a color wheel and how that applies to what you mixed and what those words you use actually mean.


[User] Please transcribe this text

[Assistant] So it's not just how do you get to secondary tertiary colors? What does that actually functionally mean? And how, it doesn't really matter what your primaries are.


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[Assistant] Uhm, if you understand this wheel, you understand bias, you understand tint tone shade, you understand this and can use it with a wheel, you can anything.


[User] Please transcribe this text

[Assistant] Uhm, in fact, I think I'm gonna go on and probably make a wheel.


[User] Please transcribe this text

[Assistant] Of my own, like to, to build into this. Like I think that was my takeaway was they're going to be a Sherpa wheel.


[User] Please transcribe this text

[Assistant] Oh, Crystal's loving my bracelet. It's my owl bracelet. I got my owl on my owl. Owl on owl on owl.


[User] Please transcribe this text

[Assistant] Sorry, we're one hooting it today. Uhm, so this course, this part, because this is


[User] Please transcribe this text

[Assistant] Here's the number one thing people think that they should be able to do that they cannot do until they're


[User] Please transcribe this text

[Assistant] At the end of their two hoot, beginning of their three hoot journey is paint from a photograph.


[User] Please transcribe this text

[Assistant] Right, because if you're at the place where you're like, I don't know what colors to mix, that painting isn't happening. Even if people tell you.


[User] Please transcribe this text

[Assistant] Um, and it's such an area of frustration, but if I can get you guys mixing these colors this way like we did in this program and we learned to use the wheel, you are so much accelerated into just looking at that sunset and getting your wheel out and be like, I think this is what I ha-


[User] Please transcribe this text

[Assistant] You'll understand it. If you did the wheel class, if you did this color mixing class and my color chart, then you don't ever have to ask anybody what colors you need to mix again.


[User] Please transcribe this text

[Assistant] Because you look at the colors that you have in your color chart in your wheel and you go, these are my colors and this is how I get to that red.


[User] Please transcribe this text

[Assistant] So that's that, this course I'm super proud of because this is the foundation.


[User] Please transcribe this text

[Assistant] Looking at your trip photo and going, I think that blue is a little bit green and I get it this way.


[User] Please transcribe this text

[Assistant] And if you can get it with primaries, you can get it with, with convenience colors. Convenience colors, we covered what those are, right? That's when you buy a green. You didn't mix it, you bought it. It's convenient.


[User] Please transcribe this text

[Assistant] You know, so that was kind of fun. All right. And then we go on to, and we'll go to the hand for a second.


[User] Please transcribe this text

[Assistant] Well, no, let's do the thumbnail and then we'll go to hands. Go thumbnail hands, thumbnail hands, thumbnail hands. Does that sound good?


[User] Please transcribe this text

[Assistant] Uhm, I initially did this first design for Lifebook. Uhm, and, uh, which is a year long course I do with Pamela Port. It's an amazing course.


[User] Please transcribe this text

[Assistant] Ambient landscapes. Where's the color chart, please? If one of the moderators can get ambient, uh, link to how to make a color chart.


[User] Please transcribe this text

[Assistant] And also the link on how to find the grids and everything. You're gonna love it. Uhm, it's life changing for artists. I like, I always make color charts now. So I have this painting in uhm,


[User] Please transcribe this text

[Assistant] This one was the first one. I felt like this was a good one to pick because


[User] Please transcribe this text

[Assistant] It gave you the idea of how you can lay things out on a canvas yourself. It gave you a sense of.


[User] Please transcribe this text

[Assistant] Background, filling in areas, creating zones, creating painting spaces, right?


[User] Please transcribe this text

[Assistant] We did some, uh, implied line. We did like fine line. We did full fills. We did a little bit of value and shading.


[User] Please transcribe this text

[Assistant] Just a nice introduction to those concepts that we, you know, kind of introduced you to through the first seven classes.


[User] Please transcribe this text

[Assistant] And this was one everybody jumped in. We have a lot of people at this stage already who've gotten at least through their cats and the cats have been great. If you go into the Facebook group and look at the cats, the cats have been great.


[User] Please transcribe this text

[Assistant] In advertising the art they are, if you're in an advertising art field, yes, uhm.


[User] Please transcribe this text

[Assistant] But for everybody else, no. I actually studied advertising art, and so yes, for me, there was a way to relate a hex code to a Prismacolor pen to pigment. There was a way to relate it, but not directly related.


[User] Please transcribe this text

[Assistant] There's a hex that goes to CMYK that goes to, uh, Pantone colors. There's actually way to...


[User] Please transcribe this text

[Assistant] Match those all up, and that's important in an advertising campaign or in a design campaign, like if you're putting together a home embedding.


[User] Please transcribe this text

[Assistant] Matches the print copy that you're putting out there. Matches the online


[User] Please transcribe this text

[Assistant] Do not look the same. They are not set the same. And so our experience of color.


[User] Please transcribe this text

[Assistant] Already subjective enough in our eyes as it is, is just completely unrelated.


[User] Please transcribe this text

[Assistant] In that space. And then if you add printers into that or output into that. So hex code.


[User] Please transcribe this text

[Assistant] That's how McDonald's yellow looks McDonald's yellow.


[User] Please transcribe this text

[Assistant] Uhm, how it applies, how, how it applies to this is this handle with the red handle for my art trip of brushes, which, I don't know, what's left out there is left out there. This is YouTube red.


[User] Please transcribe this text

[Assistant] I couldn't get the brush maker to remotely believe that purple or rainbow or sparkle was a good idea, so I did YouTube red. And I know what that is, cause the hex code.


[User] Please transcribe this text

[Assistant] Uhm, and so that's how companies create uniformity. And you can use that in art.


[User] Please transcribe this text

[Assistant] In a variety of ways, but it's a little bit down the road, but it is a good and interesting question.


[User] Please transcribe this text

[Assistant] So, this one we learned about a couple of things. We learned about paint layers and dry brushing.


[User] Please transcribe this text

[Assistant] Uhm, this was, and really how to handle transparency.


[User] Please transcribe this text

[Assistant] So this lesson, while being a cute, durable set of birds, with the moon, was really about how do I handle a very transparent red, or yellow, could have been either.


[User] Please transcribe this text

[Assistant] And how do I layer, um, colors? Right? When does it need to be dry? When does it need to be wet? We worked on our first introduction as some contour lining. Right? Really got into some contouring.


[User] Please transcribe this text

[Assistant] Uhm, to create graphic drama and we also worked on value.


[User] Please transcribe this text

[Assistant] And then we turn, we put them into practice with our painting.