Podcasts about pentel

If you think pens, soda, and car wax sound like the most boring things ever—think again. Our guest, marketing powerhouse Jeff Werderman, has spent 30 years leading at brands like Coca-Cola, Boost Mobile, and ArmorAll, and now he's running the show at Pentel of America (yes, the pen company). But this isn't about writing instruments—it's about writing the new rules for leadership.   Jeff's got some seriously controversial takes on what's wrong with today's workforce, and why your leadership style is probably driving your best people straight out the door. From leading teams of 80 to navigating the Gen Z takeover, Jeff digs into why creating a learning culture—where even the most junior employees act like CEOs of their own desks—is the only way forward.   He doesn't hold back on why hiring for attitude (and the occasional ego bruising) is more important than skill sets and how letting your team think for themselves could be your secret weapon. The episode is loaded with controversy and wisdom. Ready for the hard truth? According to Jeff, you need to embrace the chaos and hand over the reins. And if your team isn't roasting your “lame” social media content, well... they might already be eyeing the exit.   This episode will leave you rethinking everything from your hiring strategy to how you manage your teams. Takeaways: hire for opinions, embrace transparency, and if your employees aren't calling you out—ask yourself why!   Have questions or personal experiences? Drop us a message or join the conversation on LinkedIn —share your own hiring and retention horror stories and tips. Don't miss out—subscribe now and share this episode with your network! Hiring matters—mess it up, and your best talent will be gone before you know it! Key Takeaways: Step Back to Step Up: Discover how empowering others can transform leadership dynamics and drive team success. Hire for Attitude: Understand why a goal-oriented mindset is more valuable than traditional qualifications in today's workforce. Embrace Transparency: Learn how open communication fosters trust and a more productive workplace culture. Create Space for Innovation: Find out how cultivating an environment that encourages creativity can lead to groundbreaking ideas. Empower Ownership: Explore how giving employees autonomy boosts engagement and enhances performance. About Our Guest: Meet Jeff Werderman, the Marketing Yoda and Brand Whisperer. As the Director of Marketing at Pentel of America since March 2018, Jeff leads the marketing function for this venerable global writing instrument company. With over three decades of experience, he is known for awakening the force in brands through inspiring strategies. His impressive career includes revitalizing Chex Cereal as Brand Manager at Nestlé Purina, where he reversed multi-year declines, and transforming Vistage Worldwide as Chief Marketing Officer, where he rebuilt a team of 35 professionals and drove significant increases in member acquisition and retention. At Boost Mobile, Jeff served as VP of Marketing, scaling the brand's growth by targeting urban youth, which resulted in a remarkable increase in subscribers and revenue. Before these roles, he spent nearly a decade at The Coca-Cola Company, where he expanded alliances with Disney and Universal Studios, enhancing Coke's presence in popular culture. Additionally, he contributed as a Consultant at Young's Market Company and held leadership positions at Armor All and Concentrus. Beyond his corporate achievements, Jeff is an Adjunct Professor at California State University, Fullerton, shaping the future of marketing. With a unique blend of creativity and industry insight, Jeff is truly a force of nature in branding. About Your Host: Ken Schmitt is the CEO and founder of TurningPoint Executive Search. He is also the author of "The Practical Optimist: An Entrepreneur's Journey through Life's Turning Points". Ken was raised in an entrepreneurial family and brings a uniquely authentic voice to his podcast, blending life, family, and business together. Ken is a seasoned expert with almost three decades of experience in executive recruiting. In his podcast, he focuses on revealing the secrets of recruiting, retention, and real HR strategies. The podcast is not preachy, academic, or theoretical. It provides authentic perspectives on the challenges, triumphs, and quirks that make the hiring game both exhilarating and unpredictable. Twice a month, Ken offers tactical advice and industry insights to empower listeners to navigate the intricate world of executive recruiting confidently. "Hiring Matters" is your go-to resource for elevating your hiring game and equipping you with the tools to build, grow, and lead truly exceptional teams. Brace yourself for Ken's "Recruiter Rant" episodes, where he shares unfiltered insights and behind-the-scenes revelations about the industry's hidden secrets. Get ready to gain more than expected from this informative and engaging podcast. Follow Ken on LinkedIn Powered by TurningPoint Executive Search: Helping business hire right.

Szeptemberben ismét élő Wanted podcast-felvétel zajlott, ezúttal az idei Independent Label Fair meghívására a Magyar Zene Házában, amelyet ezúttal is nagyon köszönünk. Adásunk témája pedig a lermezvásárhoz kapcsolódóan az 1991-ben alapított Bahia kiadó és története , melyhez a lehető legautentikusabb személyhez, a társalapító Bognár Attilához fordultunk, akivel először visszaugrunk abba az időbe, amikor még egy oviba járt Menyhárt Jenővel, majd a nyolcvanas évekbe, ahol maga is eléggé belefolyt a magyar underground életbe mint szervező, mint turnémenedzser, mint kulturális menedzser. Szó lesz a nagy kubai underground találkozóról, a Bahia butikhálózat megalakulásáról, ebből hogyan nőtt ki a könyv- és lemezkiadó, milyen kulturális célzattal indult el, hogyan nőtt a portfólió, mi segítette és mi gátolta a növekedést, mikor léptek be az internetes térbe, mindez hogyan folyt át az A38-ba és Víg Mihály kaphatna-e Kossuth-díjat. Felvétel: Magyar Zene Háza Műsorvezető: Bihari Balázs, Németh Róbert Külön köszönet: Pentelényi Pál // Independent Label Fair Fotó: Juhász István A Wanted podcast adása az NKA Hangfoglaló program támogatásával készült.

Join me and everyone who watches Get out of Wrap TV on Linkedin (every Tuesday at 10am UK time) as we chat about contact centres. In this episode we are joined by Morris Pentel who shares just what we can gain by understanding uncertainty, doubt and confusion in our customer contacts. This is a new concept where I am taking the audio from the show and sharing here - please do let me know what you think --- Send in a voice message: https://podcasters.spotify.com/pod/show/get-out-of-wrap/message

Known by many names – sprig, pinny, bull – but unmistakable in appearance, the northern pintail is one of North America's most recognizable, graceful, and well-studied duck species. Unfortunately, much of that attention was garnered because of dramatic population declines and the mystery surrounding it. Dr. Scott Stephens joins Chris Jennings and Dr. Mike Brasher to profile this iconic species, discussing its ecology, population status, causes of its decline, and conservation opportunities.www.ducks.org/DUPodcast

#マーケティング #顧客理解 #パッケージ お客さんが商品を選んで買うときと、商品を実際に使うときで、同じ要素が重要だと思いますか？今回は、ぺんてるのシャープペンシル ｢Pentel Ain｣ を例に、この問いを掘り下げます。それぞれのシーンにおける顧客ニーズを見極め、最適なデザインとコミュニケーションを設計することでユーザー体験がいかに向上するのか。一緒に探っていきましょう。

今回のテーマは ｢商品パッケージからのコミュニケーション｣ です。お客さんが買う時と使う時のシーンごとに最適化しようという話です。おもしろいと思った文房具から、マーケティングに学べることを掘り下げていきましょう。 ✓ わかること Pentel Ain のシャー芯ケースの工夫 お客さんが買う時と使う時のシーンごとにお客さん目線で最適化しよう

Introduction A time stamp is added for each item I mention. The time stamp given does not include the intro added by HPR so you’ll need to add a few more seconds to get to the the correct spot in the recording. [1:20] - I mention that if you are struggling to think of a topic for an HPR show then the HPR site contains a list of requested topics which you can choose from. https://hackerpublicradio.org/requested_topics.php [1:55] - Picture 01 show the “Wenger” rucksack (Backpack) I take to work. It was purchased many years ago and is probably no longer available. Picture 1 First front zip section [3:20] - I mention that I suffered for many years with Hay fever and have had great success with Mixed Pollen 30C tablets which I bought on Amazon. Unknown to me at the time these were Homeopathic with miniscule concentration. Despite this they seems to have cured my Hay fever. Refer to the links below. Wikipedia article on Homeopathic dilutions Amazon link to Weleda Mixed Pollen 30C Tablets [4:20] - Link to some unremarkable Iphone headphones I use which I bought from Amazon. Strangely they seem to constantly fall out of my left ear but remain in my right ear. UGREEN HiTune Lightning Headphones MFi Certified In Ear Headphones with Lightning Plug Wired Earbuds Mic In-Line Control for iPhone Compatible with iPhone [4:43] - Wedze Hand warmers, link from Decathlon. First main compartment [5:40] - Picture 02 shows the leather pouch pocket protector that I used to carry coins. I no longer have a use for it as I no longer carry change. Despite this for some reason I still continue to carry it back and forward to work. Picture 2 [6:25] - Pictures 03 and 04 show the Essentials fold back clips 19mm I use on a daily basis to organise bundles of paperwork. Picture 3 Picture 4 Wikipedia link to article about Bulldog clips which are not exactly the same item but serve the same purpose. [7:50] - Picture 05 shows the rubber (Eraser) I purchased from the New Lanark Village Store. The proceeds go to the RNLI (Royal National Lifeboat Institution). Picture 5 Wikipedia article about the New Lanark Village Link to New Lanark Village Store Wikipedia article about the RNLI (Royal National Lifeboat Institution) [8:50] - I mention a plastic bag clip – 08:50. Link to similar plastic bag clip on Amazon [8:55] - I mention a rubber band. Link to rubber band article on Wikipedia [9:10] - I mention a silica gel pouch I found in my work bag. Refer to picture 06. Link to Silica Gel article on Wikipedia. Picture 6 [9:40] - I mention a squishy ear defender. Refer to picture 07 Link to Wikipedia article about ear plugs Picture 7 [10:20] - I mention that I carry Ain Stein 0.7 HB Pencil lead in my bag. Link to Ain Stein 0.7mm HB Pentel pencil leads on Amazon. [10:50] – I mention that I carry a four colour Bic pen. Amazon link to Bic four coloured pen [11:05] – I mention that I carry a Pentel P207 propelling pencil and that this is my favourite writing implement. Amazon link to Pentel P207 propelling pencil, they also offer other models with different thicknesses of lead. Wikipedia article about the Pentel company [13:20] – I mention that I carry black and white Eding 780 paint marker pens. Amazon link to Eding 780 paint marker pens. [13:50] – I mention that I carry a Southord C801 Lock picking set which I was given as a birthday present one year. Amazon link to Southord C801 Lock picking set Wikipedia article about lock picking [15:35] - I mention that it is generally very easy to pick a combination lock. Link to YouTube video explaining how to pick a combination lock [16:45] I mention I had some documentation bout the Python function urllib.request. I was using this function to scrape text from the HPR site. I cover how I used it in my previous HPR episode HPR 2340. Link to Python documentation about urllib.request [17:10] I mention that I have some red coloured spot stickers that I have many uses for one of which is to make it easy to see at a glance if the switch that operates an outside light is turned on as without this it is not possible without stepping outside to check. Refer to picture 08. Picture 8 Second main compartment [18:20] I have a Morgan foldable brolly which I occasionally use when caught in the rain. Refer to picture 09 Picture 9 [18:30] I have a pair of foldable military ear defenders. I picked them up while I was at an air show I think at Ingliston many years ago. Refer to pictures 10 and 11 Picture 10 Picture 11 Third compartment containing a pile of keech [19:30] I mention the Scottish word Keech. Definition of the Scottish word Keech. [20:25] I found an old Unite Magazine from 2019 in my bag. A Wikipedia article about the Unite Union [20:30] I mention I found on old article from 2006 about the possibility of a bird flu epidemic and how to protect yourself should it happen. Wikipedia article about Avian influenza H5N1 commonly known as bird flu Wikipedia article about the magazine New Scientist [22:15] I mention that found a letter from my company with a designated worker heading. If required this letter was to allow me to drive to work at the height of the COVID-19 pandemic. I do remember having to do this at least once and that the roads were deserted like some post apocalyptic scene from a movie. Despite this I never needed to show the letter to anyone. [22:55] I talk about a sketch I made a number of years ago for a timber post. I was told this was needed in order to place a charging point midway up my driveway. This was needed for an electric car I was thinking of buying. I ended up abandoning the idea as it all got too complicated. I believe things have since improved and I now wish I’d bought the car is it actually went up in value! [24:00] I briefly mention a piece of paper entitled disk tidy that contained various Linux commands. I think this was a number of Ideas I wanted to try out to tease out which directories were taking up the most space on a hard drive I had. These days I either use the du command or sometimes ncurses command ncdu. [24:30] I talk about a pile of old documents I came across that may have copyright issues so I won’t include them in the show notes. However I’ll include the following related links [24:40] The first document I found was from the from many years ago with a foot note saying it was from the UN Population Division UNDE SA Oxfam World Centre WWF giving various stats about global population, resource usage and carbon emissions Link to UN Population Division Link to UN DESA (Department of Economic and Social Affairs) Wikipedia article about [26:00] I came across an old illustration from the BBC I think from around 2012 which had two graphs from the UK showing the vast number of staff working in the DWP (Department of Work and Pensions) to recover a potential small amount of fraud in the UK benefits system and comparing this to the tiny number of staff they had working in the UK's HMRC (HM Revenue and Customs) that could have recovered a potentially vast amount of tax evasion fraud. Wikipedia article about the BBC - British Broadcasting corporation Wikipedia article about the DWP - Department for Work and Pensions Wikipedia article about the HMRC - HM Revenue and Customs [27:45] I briefly mention a paper I found that mentioned peak oil. I feel this is now less of a problem as there is more than enough left in the ground to fry humanity. Link to Wikipedia article about peak oil. [27:45] I mention a Breadboard layout I found which I created to use with a Digital IO add on board on one of my raspberry pi’s. Refer to my previous HPR show 2901 Wikipedia article about Breadboards Last compartment of bag – main area [28:50] I mention that I carry a bottle of water to work. The bottle is a stainless steel water bottle that is double walled vacuum insulated. It can hold ‎500 Millilitres of liquid. It claims to be able to keep liquids cool for 24 Hours. I've been very impressed with it as it seems to be able to keep the water cool for the whole day I am at work. Amazon link to water bottle [29:00] I mention that I carry a roll of masking tape. This comes in handy for all sorts of situations. Often to create ad-hoc labels for things. Wikipedia article about masking tape [29:05] I mention that the skin on my hands can get very dry especially when I’m at the office due to it having low humidity. I use Nutrogena hand cream to combat this. Amazon link to Nutrogena hand cream [29:42] I mention that I carry a stapler which comes in handy from time to time. Refer to picture 12. Wikipedia article about staplers Picture 12 [29:50] I mention that I carry magnifying glass as my eyesight is not as good as it used to be. Wikipedia article about magnifying glasses [29:55] I mention that I also carry a pencil case to work. Wikipedia article about the pencil case [30:09] I found a Caramel Wacko chocolate bar biscuit in the bag I take to work (Refer to picture 13). These are available from from Aldi. Aldi is discount food store in the UK. Wikipedia article about Aldi Picture 13

We talk more about notebooks for a specific purpose, wherein Ted gives up on his dream journal while Adam thrives as a dream journaler. Meanwhile, Packaging World breaks news of new Pentel packaging: we break it down. Dapper NotesPentel Reimagines Blister Packs as Plastic-Free, Packaging World magazineSaving Time by Jenny O'Dell

In this episode, Maria Coryell-Martin shares how her passion emerged out of collaborating with scientists to help tell their stories through art.Sponsored by ConceptsThis episode of the Sketchnote Army Podcast is brought to you by Concepts, a perfect tool for sketchnoting, available on iOS, Windows, and Android.Concepts' infinite canvas lets you to sketchnote in a defined area while still enjoying infinite space around it — to write a quick note, scribble an idea or to keep pre-drawn visual elements handy for when you need them most.The infinite canvas lets you stretch out and work without worrying if you'll run out of space. When combined with powerful vector drawing that offers high-resolution output and complete brush and stroke control — you have a tool that's perfect for sketchnoting.SEARCH “Concepts” in your favorite app store to give it a try.Running OrderIntroWelcomeWho is Maria Coryell-Martin?Origin StoryMaria's current workSponsor: ConceptsTipsToolsWhere to find MariaOutroLinksAmazon affiliate links support the Sketchnote Army Podcast.ArtToolkitArt Tool kit on InstagramArt tool kit recommend seriesArt Toolkit NewsletterJuneau Certified Research ProgramBrushmaker storyGet 10% discount at arttoolkit.com with code SKETCHNOTE10 through June 1st, 2023.ToolsAmazon affiliate links support the Sketchnote Army Podcast.All-in-one Zipper pouchPentel water brushesWaterproof penSketchbookSharpie penPentel brush penPelikano fountain pensCopic multilinersHelvetica pencilsRosemary & Co travel watercolor brushescollapsible cupNo-needle syringeBinder clipsRubber bandsPaper toweliPhone miniProcreateTipsUse a timer and set yourself a very small amount of time to do something.Give yourself the opportunity to play with color, what you see, and don't worry about composition.Paying attention to the world and just letting yourself start with notes just to start that attention.Trust the process.Practice not perfection.CreditsProducer: Alec PulianasTheme music: Jon SchiedermayerShownotes and transcripts: Esther OdoroSubscribe to the Sketchnote Army PodcastYou can subscribe to the podcast through iTunes, Google Podcasts, Spotify, Amazon Music, YouTube or your favorite podcast listening source.Support the PodcastTo support the creation, production and hosting of the Sketchnote Army Podcast, buy one of Mike Rohde's bestselling books. Use code ROHDE40 at Peachpit.com for 40% off!Episode TranscriptMike Rohde: Hey everyone, it's Mike and I'm here with my friend Maria Coryell-Martin. Maria, it's so good to have you on the show.Maria Coryell-Martin: Oh, I'm thrilled to be here, Mike. Thank you so much for having me.MR: You're so welcome. I had an opportunity to work with you on your YouTube channel, I think, was that last year or 2021? I can't remember now. It's so all a blur. We had a blast working together and you popped in mind for this season, and I said I need to have Maria on to talk about the work she's doing because she's a really interesting person. It's gonna stretch our listeners' minds a little bit further, which is always a good thing. Why don't you begin by telling us who you are and what you do?MC-M: Great. Well, my name is Maria and I'm an expeditionary artist and also the founder of Art Toolkit. I wear a lot of hats in my work.MR: Exactly.MC-M: Business owner and artist. The expeditionary art part came first. I've always been passionate about art, science, and education. And using a sketchbook is really how I've interpreted the world, and going out and just nonstop sketching ever since I was really little. I brought a few things to share so those of you who pop over to YouTube later.My father was a scientist and so I grew up really curious about his work and the scientific process. Part of his work brought him to the Arctic. He was studying the formation of sea ice. We grew up with Arctic parkas in the closet, and I remember big maps on the ceiling of my room.His work also brought him to Japan where he was invited to teach. This had a big influence on me because we lived down the street from a brush maker in Tokyo. The brush I'm holding up right now is one that he made out of my own hair before I left when I was, I think 11 years old. I would go up there and paint with him and my mom would help, but we didn't speak much of the same language, but the connecting over art was a really important part of my experience.He made this brush as becoming of age gift for me out of my own hair which he told me was a tradition in Japan. Ever since I was young, I've really known that art has this important place and who I am and how I experience the world, and how I can interact with it. That's where that idea of art as a tool started for me as a tool for communication, for education, for learning, for connecting, and haven't really stopped with that.MR: That's really great. And that's led, of course, to Art Toolkit, which is your business that sells materials that encourage that expeditionary art mindset or activity.MC-M: Yeah. With expeditionary art, I went to Carleton College. I grew up in Seattle, Carleton's in Minnesota, and really enjoyed traveling in part, maybe to get away from some of those Minnesotan winters, but had the opportunity to do some terrific study abroad programs, including the South Pacific, which was an art and printmaking program, Mali, West Africa, to study French and local culture and dialects languages. And took myself on some independent projects.Everywhere I went, the sketchbook again was such a part of what I did and how I experienced the world. After graduating Carleton, I had what's called a Thomas J. Watson Fellowship to travel and paint for a year. The Watson basically funds dreams for unique opportunity for 50 select graduates of this consortium of colleges.My particular dream was to travel to remote regions and paint and learn about how the landscape impacted me and the artists I can meet, how the landscape was reflected through their art. Long story short, I got a lot of practice in painting and traveling, and really my passion emerged outta that of collaborating with scientists whenever possible to help tell their story through art 'cause I've always loved science.The Art Toolkit came because I had this puzzle of traveling with art supplies and needing to keep everything portable. As an artist, part of just who I am is I really like to make things and to try and make things better. I was always tinkering every trip with the tools I had.I'm holding up now my first little watercolor palette I made, which just of out of an Altoids tin. And inside it is Sculpey, which I pushed a pencil in to make little holes and spray paint it. You see, Sculpey is really heavy, and so, it's not really like a backpacking pallet, and it's a little bulky.I thought, "I want stuff to be all in one, what can I do better?" Here's another one. This pallet is out of a Lamy safari pencil box or open box. I used this time little plastic pans that I could glue inside the tin. Some of them I put on magnets and held a lot more colors. It's lighter weight than my old mint tin, but still heavy.I had a trip to Eastern Greenland in 2010 with a walrus biologist. It was just really fun trip. We did a lot of sneaking up on walruses to observe them. The scientists were taking tissue samples, which was a cool process because they basically modified a crossbow to shoot a little tiny metal plug into—like imagine the tip of a pencil, you know? That was hollow.It'd take just a little plug of tissue out of the animal to get a little DNA sample. The walrus were sleeping in the sun, and they would grumble when they got poked. And then they'd fall back asleep, like, not a big deal. But sneaking up on these animals, we'd wear these zipper suits like machinist suits over our big warm gear, and we'd be crawling into sand so we wouldn't scare them.This is where the quantity of gear I had with me was really confronting practicality because I had my camera and an audio recorder and my sketchbook and my trusty watercolor box, but it would wiggle down as I was falling in the sand and keeping track of it felt like a challenge.That was the summer that Art Toolkit really started where I came back and my final watercolor palette that set the stage was this little business card tin, I'd adapted and found, okay, now I've got a pallet that can fit inside a zipper pouch and I can take anywhere a lot easier. I started making them myself with the help of a local company that helped with the pouches and making the little pallets. That was over 10 years ago.MR: Wow. Wow. That's really cool. That's I think the best kind of tools where it's not just something you make up and hope that it fits. It's like you actually field-tested everything to get to the point of like, okay, this is really working. I'm sure you field-tested that little business card thing as well to make sure everything worked. Just your nature, right?When you buy something from that a company or a maker, you take advantage of all that fieldwork that you've done, so you know it's gonna work when you get in that situation, it's not gonna fail you.MC-M: Yeah. I try and solve problems for myself. Then there's a point at which you think, with my work as an expeditionary artist that was around my passion for art, science, and education and wanting to go out, but I kept thinking, hey, I really wanna help share this with others and wanna help inspire and empower others for their own education or their own adventures and just going out.And so, I wanted to make tools to share and then kept making them better. Since then, we've done a lot of adapting to this palette from modifying it and changing the materials. We have them in three sizes. As if that wasn't small enough, we've got this really one size because it's so cute. I really like cute little things. My daughter teases me 'cause I'm always seeing your little cute things. Then we've got one that is about twice as big, but still slim.MR: Pretty thin. Slimness. I've got one of your kits, probably your smallest kit which includes a notebook. It's got a pallet and a water brush, and then it's all inside of a nice, pretty small, like a nylon zipper case. It all fits in there. Yep. Right there.We'll have links to Art Toolkit so you can go—if you're listening and you're not looking at anything, you're in the car or something. When you get to your destination, you can pop up a link and look at the breadth of tools. I think the other thing I like about the way you approach things is, well, of course, you're making tools that are tested and purpose-built 'cause that's really cool.The other thing I like is that you really focus on education. Like, having me on to talk about sketchnoting with people that like your tools or you're always doing stuff and then sharing. I think that's a really big key. It's not just that you're making tools, but you're actually showing them in practice and how to use them. It just makes for a whole integrated way of looking at what you're doing, which is really cool.MC-M: Oh, I'm so glad you appreciate that. It's been just central to our values and then the values now of Art Toolkit, you know, it's grown much beyond just me now about, I don't know what it was now, maybe when my daughter was two or three, she's seven and a half now.I realize I needed help with shipping and assembling and brought my mother-in-law in so to be my shipper, and she's still our primary shipper. Finally, got my husband on, and now we've got a team of about eight folks who work, some full-time, some part-time in making it, but really trying to keep those core values.I just think it's so neat. I get a little thrill when I see people out in the world and I get so inspired by other people's work. I suppose it's a little bit selfish in wanting that inspiration, but then the fun of sharing it and delighting.I tell you, Mike, the words that were mantras for me through the whole pandemic was just community and creativity. It was just like nourishing. I know that was the point where we connected. It's been something that's really grounded me.Well, that's great. I know sketchnote community is in a similar place. We all care for each other and lots of sharing and support and encouragement. The same thing happened for me kinda leaning into that community when the pandemic happened, knowing that there were other people like me that needed a connection, and so, well, let's make stuff, let's provide that.It sounds like you're on a similar path. That's really cool. You talked a little bit briefly about living in Japan with your parents and getting a brush made from your hair. I'm gonna now switch into your origin story. Now, you don't have to go and tell us every detail, we talked a little bit as we prepared for this. What were the key moments in your life that led you to where you're at and maybe some that specifically, I guess, integrated visual thinking into those decisions?I'm sure that living in Japan had a huge impact on the way you thought about visual thinking and observation and the way different cultures are and probably led to your interest in travel. There's probably a bunch of things that it probably influenced. Maybe start from when you were a little girl and became aware of the world and you're traveling with your dad and take us from there.MC-M: That's a great question. A few key moments come to mind. One was, so I've been to Japan four times and the first trip I was in grade school, I think. I don't know if it was summer after third grade or first grade, I can't quite remember.But the sketchbook for me then was just such a direct communication tool because I'd be sitting around with kids and I was out there with my family, but we spent a lot of time with other families and kids of that my parents were meeting and working with. I just remember describing things like, how we got to school. And they'd draw a picture of how they got to school, and I draw a picture of how I got to school or like what we ate.It was such this means of connecting and just like you said, that visual language. That stayed with me because it's brought joy and connection, and just like having conversations through a sketchbook. In high school, I loved art and I did a lot of outdoor education, but I really vividly remember, and I wish I'd grabbed this out of my files to show you, integrating art into my other classes as much as I could.For example, I had a mythology class where we'd have to write or review stories and instead of just, typing up or writing up a report, I put together a little book out of greeting cards, which I like sewed together and drew tiny little cartoon pictures with the whole stories for the whole assignment. Then I stuck in an envelope and gave it to the teacher who really enjoyed it.For me, it was a way of storytelling through art in my own way, and it helped me learn also. Which I think really relates to like the sketch noting of just visual processing and attention. Then another really formative moment was I spent two summers with the Juneau Icefield Research Program in Southeast Alaska.Each was a full summer one as a student in high school and one later coming back to help be a staff and artisan residence. That first summer, especially the ice field was this really stunning environment of rock and ice. Living in this environment, in these little cabins and traveling with a really neat group of people, science-oriented, also learning about field safety, so doing a lot of practice around crevice rescue and skiing and being safe in this place.And I just remember really coming away with, meanwhile, I'm always sketching, that idea of just coming at a subject from different perspectives. As an artist appreciating light and shadow, shapes, this sort of visual vocabulary. Then as a scientist, thinking about the why and asking questions.For example, crevices and why they're forming where they are, these practical elements. Then from this wilderness experience of how to safely navigate it, and travel it. Then also there's this emotional experience of this space that could change dramatically from this really wide-open landscape where you're skiing 10 miles and you can see your destination, but it feels like you're moving at the snail's pace or having the fog come in and all of a sudden, you're on the inside of a ping pong ball.Emotionally can be this entirely different feeling may be from going from this vast spaciousness to just this insular world. That made me just think a lot about how much I enjoy learning all these different aspects, and that's really was brought me to this expeditionary art of art, science, and education.MR: The sense that I'm getting from you to this point is you have a real fascination with layering. It's not enough that you learn, it's not enough that you're observing scientific phenomena, it's not enough that you're experiencing something emotionally, then you're layering on this art layer to try and capture it or express it or explain it. There's all this layering going on from what I hear.MC-M: Yeah. It's really neat when you get to be around people who are experts in those other layers because people of all sorts can just be the most delightful nerds, myself included. They're so passionate about little things that they know so much about, and just find it a delight to connect with those people and try and hear what they know and understand and use art as a jumping-off point to try and share that.MR: It's gotta be interesting to be able to express their nerdery about their specific thing in art, and then they see it and like, "Yeah, you get it." That's right. Maybe you even observe something because you're doing that art that they maybe didn't make those connections or maybe it sort of became clear for them. I imagine that's probably happened.MC-M: Yeah. Yeah.MR: That's really cool. Cool. Well, let's jump into what's the project that you're working on now that you're excited about to bring us right up to the present and share some detail.MC-M: Well, all sorts of projects going on. On the art level that's been something for my personal art practice that comes in and fits and starts now. I had a really lovely residency over the summer in Norway, which was an opportunity just to sink back into some of my painting practice. And so I'm excited to take some of that Norwegian work and develop it into larger paintings.I often like to work in the field, you work really quickly or might be filling up little sketchbooks. Here's an example from little small, just playful sketchbooks. I'm holding up one from some sketches in Alaska I did with a scientist that are—MR: Oh yeah, look at that.MC-M: Very much kind of little storytelling elements of about the project. Then in my studio I like to work on a much bigger scale often to try and catch some of the emotional sense of what I feel. Then on Art Toolkit side, there's all sorts of nonstop projects there, but I really enjoy developing new products and collaborations. I'll have to just share that there's some new paint-filled pallets that we're working on. We've got some variations on—oh, I don't even know if I should say yet, but if you stay tuned to Art Toolkit.MR: You'll find out. Yeah, get on the mailing list.MC-M: This spring, there's some a few things coming out that I'm really excited about.MR: Sweet. That's really great. That's great to hear. You're like me, you got lots of irons in the fire keeping things moving, so that's pretty cool.MC-M: Yeah. Yeah. I will say will be announcing our early spring workshop soon, and that's something I'm excited about too, is getting to connect with other artists who may wanna come and help inspire our Art Toolkit audience.MR: Excellent, excellent.MC-M: We'll have those coming up soon too.MR: Great. Let's switch to tools a little bit. You probably got lots of tools you could show. I guess we do have to remember this is typically about an hour show, so I'll have to cap you a little bit. But maybe you put in the context of someone's listening and they're like, expeditionary art or visualizing nature.Maybe they're in an urban environment and they don't think about nature, but the reality is nature is all around you, birds and trees, and it would be interesting maybe the start observing like, well, what nature is in my urban environment that I could capture? Or maybe I get out of the city and I take a sketchbook or something along.Maybe talk—when we talked before you were able to provide me with a little starter kit to try. Which is really great. Maybe talk about if someone's interested in getting into it, what would be the right tools that they might consider? Maybe that's the way to go about it.MC-M: Well, I think like the sketchbook it's similar to what people say about a camera, that the best camera you have is the one you have with you. The best sketchbook is the one you're gonna be able to have with you. For me, that's where having this little all-in-one zipper pouch of the Art Toolkit, which we offer in two sizes really came in because I just wanted this like no excuses kit.My no-excuses kit is usually the small one. I carry a bigger one when I wanna head out with more goodies and more things to share. But just to be really no excuses. In this kit, one of my favorite things is a water brush. I typically use Pentel water brushes. They're really durable. I find that you don't often clog. Last a long time. If you haven't used a water brush, you untwist the caps, you can fill them with water. Really cold places, you can mix it in with some vodka or gin to help lower the freezing temperature.MR: Your paint freeze.MC-M: Paint freeze. Another perk of the pentel that I like is they're oval, so they're not gonna start rolling downhill as quickly.MR: Fall into a crevasse or something.MC-M: I always find a water brush is handy. The most fundamental, all you need is a pencil or pen and a sketchbook. But I'll show you a little just what is in my kit, I suppose. I like waterproof pen. I often sketch straight with pen because there's just the immediacy of putting your marks on paper, and I really try and embrace practice, not perfection, of not worrying about lines being in the wrong place.If I did something and I stop and measure, I just draw the line where I want it and only color and the lines I want to. It's part of the process. Practice, not perfection is a really big mantra for me. I love a waterproof pen, and depending on where I'm traveling, I might carry one that's—I don't like disposable things in general, but a little Sharpie pen. Sometimes traveling refillable pens can be a little explosive with going over mountain passes or altitude. Another waterproof pen I really enjoy is this Pentel brush pen.MR: I love those.MC-M: A little more like dynamic mark, and they're also waterproof. Then I have a little collection of fountain pens. I'll sometimes carry—this is a little Pelikano fountain pen by Pilot. That's pretty cute and not too expensive too, so if you are not gonna worry about losing it too much. Copic multiliners are another waterproof pen I like. These are kind of a in between, see if I can pop this out. Something that is disposable and reusable. It's got a very large ink cart that you can replace and you can replace the nibs.That's a little variety of pens. I've got pen, water, brush. If I do carry a pencil, I sometimes carry an automatic pencil. This is a little heavy, but—oh, I love these pencils. Mike, they're Helvetica pencils. We have the automatic ones and then we also have just wooden pencils. They're just these gorgeous pencils made in Japan. I have just a gorgeous feel and I'm a real sucker for good aesthetics and I really like their aesthetics.MR: I'm a mechanical pencil fan as well. I keep usually soft lead and like thick. I think I got Faber-Castell, it's like 1.4 millimeter, so it's really super thick. I can show you what that looks like. It's super thick lead and it's soft. If I'm gonna do pencil, I want it to be soft and feel really loosey-goosey. I dunno if that's a technical term, but I tends to like, I can flow around and I don't worry so much. It's not about perfection, so.MC-M: Yeah. Yeah. Oh, this is one I bought years ago with a big lid lead too, that I don't sketch with very much, but I picked it up 'cause it was just so beautiful with a very big lead.MR: I think that's technically called a lead holder. I think it moves beyond a mechanical pencil to lead holder.MC-M: I think that serves it right.MR: The grasping things on it, right?MC-M: A couple other things In my carry-everywhere kit, if I've got enough time, I do really enjoy travel watercolor brushes. A brand that I'm a big fan of and we carry, Art Toolkit is Rosemary and Co. These are made in England by a small family company, not terribly small, they've grown many over the years, but Rosemary still runs the company. They have a whole variety of shapes and sizes, but the big key is that when you're done painting with 'em, you can take it apart and put a cap over the point so that they won't be damaged in transit.To paint with 'em, I carry a little tiny collapsible cup that we offer on Art Toolkit website. I can pour a little water and sit down a minute. Sometimes for my water brush, I carry a little tiny no-needle syringe to squeeze out the water and pop it in my brush. I always carry little extra binder clips, sometimes rubber bands too for wind. They're really useful because you can also clip your palette to your sketchbook. So, if you're out, you can have it on one side and sketch on the other.MR: Got it.MC-M: I do that a lot, sketching standing up, or making sure something won't blow away. Finally, a paper towel to wipe my brush on. The paper towels I use, I've been using these for years and years and years. They're shop towels, blue shop towels that you can pick up at a hardware store. They're just so soft and durable that you tease them out and reuse them. I really like the feel and trying to reuse them.MR: Cool.MC-M: That's what's in my daily carry. For folks getting started, your daily carry can just be as simple as like I said, you know, a pen and a pencil. I think water-soluble pens can be fun with a little water brush just for black-and-white paintings. Just keeping things simple with what feels like you've got space for in your daily bag.MR: Well, I've got my little toolkit right here for those on video so you can see. There it's. I got a little ruler in there, my syringe, and stuff. It's been a great little kit.MC-M: Oh, I'm so glad. I love having a ruler too. Mine has slipped out at the moment, I'll need to replace it.MR: Exactly. Great. I think I've actually done some work. I can show you what I've done. You mentioned the Pentel brush pen. I was playing with this. This is in a train ride in Minneapolis along the river with my kids. Then I think I was standing at the back in the caboose and just captured the tracks rolling away from us. I gotta say, it was really fun. I was really enjoying it. I need to do more of it this summer, so thank you again.MC-M: Oh, that's wonderful. You're welcome. That brush pen is so big and bold that you can capture the shapes quickly and then the watercolor can bring it to life. I think that's something a artist friend of mine told me once was that big tools make for big ideas. That sometimes bumping up the size of your tool, you can fill something up quickly and just—MR: Loosens you up a little bit too. I think. Talking about the size, if you know what the size of a pocket Moleskine is, which I don't know what the exact size is. The kit is not much bigger. Well, maybe I'll take a picture for the show notes. It's big enough to hold it and then the tools. It's actually pretty small, all things considered. Pretty compact, and you could throw that in a bag really easily. I appreciate little things from when I was a kid as well, so I super appreciated how you packed so much in this little tiny package. It fit me. It suited me.MC-M: Oh, I'm so glad. Mine tends to get a little bloated, but the zipper holds, so I'm like, "Oh, I can just stuff one more thing in here."MR: One more thing, just one more thing. That's excellent. Now, typically with Sketch noters, they often will use iPads and pencils and stuff. Are you using any kind of digital tools for the work you do? And what are they if you do?MC-M: I'd say the biggest tool I use is my phone in just taking reference photos. I might be out somewhere and I find like being onsite and doing some sketching sort of activates my attention. It gets me into just active observation, paying attention. It doesn't matter if that's just color studies or notes, but just something to pay attention and get outta my head.But then having some sort of media, additional media, let's say I'm going and need to add more color later or wanna work on some larger paintings, having a camera with me is really helpful. I think a phone is—I just have a little iPhone mini that—I'm not always looking for the best photo, but just for the reference and the memory.Sometimes I'll even do little videos, especially if it's of birds or things that move so that I can get a sense of that motion. I can pause and maybe catch a different position. I will say, I'm curious about playing more with Procreate tools and other things. I had on my residency this summer, another artist was doing a lot of really cool development of his photos into digital images and it was good to see the potential there. But I'm a fairly analog person by nature.MR: I can imagine. The problem that I've had in the field is just when you need a thing, the battery's dead. And if you're cold weather, it's dropping faster and if it's bright and sunny, it's hard to see. There's all these considerations that paper doesn't have those issues a lot of times. I could certainly see why that might be the case.But well, that's a really great little toolkit and we'll, we'll have you send a link to all those things. We can put that in the show notes, so we've got links to all the stuff that you showed, or maybe the package of things that have them all in there. Maybe there's just one link and everything is already in there for someone so they can just buy it and they're ready to go. So cool.Well, now let's shift again. We're shifting away from tools, and this is the tips portion of the interview where I frame it that there's someone listening, a visual thinker, whatever that means to them. Maybe they feel like they've been in a bit of a rut or they're on a plateau and they just need a little encouragement or some inspiration. What would be three things that you would tell them they can be inspirational, can be practical, three things that they might do to help them just kind of shake it up a little bit?MC-M: I love that question because I'm a real process person and I already told you one of my mantras, which is practice not perfection. Another one of my mantras is trust in process. No matter how much painting I've done, I still sometimes look at a sketchbook or start a painting and I'm like, where do I begin? And I need to remember kind of, warm up again.I love having my little process to get started. One thing I love in just all parts of my life, I love timers. I am so hooked on, like, does this feel hard to do? Set a timer. In workshops with people of all ages, I love going through gesture sketches, which are really fast, energetic little sketches to get the big idea of something.Using a timer, we'll so often, start with a ten-second sketch, go to a 30-second sketch, a minute, and even up to two minutes. It's fascinating to see what can be done in just a couple of minutes. let's see if I have a little example here of some gestures. Here's some little, just tiny walrus gestures done with one project.MR: Oh yeah.MC-M: I'd recommend as one tip is, if you're feeling like you need a little prompt to get started is set yourself a timer. I'm gonna do this for three minutes, just to get yourself to sit down and get started. Another way to think about it that a scientist shared with me is the activation energy to get a chemical reaction started is bigger often than like continuing a process.I think that timer can help us have that boost to get going. then once we are in the groove, it can be easier to stay in the flow. My first tip, Mike, is use a timer and set yourself a very small amount of time to do something. Now there's the question of what to do. And that will be my next tip.Another tip I would suggest is if you're sitting somewhere and feeling like, "I need a little boost for getting going here." Would be just to play with painting the colors you see and not worry about composition. You might do this as little circles. An artist friend of ours with Art Toolkit lately has just been doing some really delightful little circle studies, in this vein of creating a little bit of a little wet circle on your paper, dropping a little bit of one color in, and adding a little bit of another color.This could be more formal or you can see this little slouch of color on the other side of just seeing how colors might mix together what you see in front of you. But take away the pressure of I have to like, paint something or, or do something more, I'm gonna put this in quotes, "Official" or "Real feeling." Just give yourself the opportunity to play with color, what you see, and don't worry about composition.Actually, there's a fun thing which I think we put on our website. I can send you a link to this, Mike. If you do this of just mixing the colors you see, sometimes you can go on top and just do a light pen drawing on top of that as well. I can send you a link to a little prompt of that.MR: Okay.MC-M: My last tip would be going the other direction from just looking at color to just starting with words. I think a lot about sense of place and palette of place is something, as an artist I pay attention to. you're building a vocabulary when you're outside of the colors you see of the environment of the stories you learn. if it feels too much to start with the drawing side of things, let yourself do some writing.I often think about, you know, the W's of who, what, where, when, why when I write. I think it can be really fun to play, this is something you do so well. you might play with your writing. This is a little exercise I did on one program where we were imagining the ocean. So let your words be fun where you might play with how you're writing.Then around those writings you might then add in little tiny thumbnail sketches or little icons and then be able to add some color to the page. with all of these tips, out of those three, it's about just simplifying your approach. setting a timer, putting a little limit on kind of your time and expectations, taking away composition, just focusing on color, and then just paying attention to the world and just letting yourself start with notes just to start that attention.MR: Those are great. Those are three great tips. I almost wanna say practice not perfection and trust in the process are almost like free extra tips. I dunno. 0.1 and 0.2, I dunno, whatever. They are also good things to remember. That's really great. Well, here we are at the end of the interview. Crazy enough, it just flows by, it seems like every time I do these.Tell us what's the best way to reach you to get to Art Toolkit to follow you. Are there social media channels where you're more active? What are the best ways to connect and explore what you're doing and what you're offering?MC-M: Art Toolkit, we're at art toolkit.com and Mike, I'll put together a little discount code that you can share with your listeners at the end. We'll put in the show notes. We have an active Art Toolkit, Instagram. Fun community there. And I've got a small team Art Toolkit who helped me with that, which is great 'cause we really enjoy featuring other artists featuring techniques.We have an Art Toolkit recommend series where we just really try and share inspiration and cool stuff to try and help inspire each other. My personal art is over@expeditionaryart.com. I'm a little quieter on the social media front these days personally, but really with the Art Toolkit newsletter is the best place to hear about what is coming up. We announce to our newsletter our new releases or special offers first. We really enjoy that community and so invite you to sign up for that on our website.MR: Great. Those are all great entry points. Everybody listening, definitely check out the code that'll be in the show notes, and then go visit and spend some money over here. We wanna encourage and support Maria and her team for the hard work they're doing and the sharing that you're doing, and you end up with good tools. Everybody wins in that case.Thanks so much, Maria, for being on the show and sharing your experience and it's so good to have you on the show. Thanks so much.MC-M: Oh, such a pleasure. Mike, thanks for everything you do and your work has long been inspiring for me too. Just really glad to share this community, so thank you.MR: You're so welcome. Thanks so much. For those who are listening, this is another episode of the "Sketchnote Army Podcast." Until the next episode, we'll talk to you soon.

It's a recap episode babes! We discuss the best food, media, and general ~*stuff*~ of the year of our lord 2022, what's in, what's out, and what we're looking forward to in 2023. The usual stuff, plus some bonus emotions! Because we love each other!Thx for listening we luv u too. FARE THEE WELL, 2022!SHOW NOTES⬇️⬇️⬇️BEST MOVIE:AA: Black Panther Wakanda Forever MM: Do Revenge (runner up: A League of Their Own)BEST TV SHOW:AA: Welcome to Wrexham (runner up Dopesick)MM: SeveranceBEST BOOK:AA: We All Want Impossible Things by Catherine Newman (Tomorrow and Tomorrow and Tomorrow by Gabrielle Zevin)MM: Lost & Found by Kathryn ShulzBEST ALBUM:AA: Subject to Change by Kelsea Ballerini (Runner Up Humble Quest by Maren Morris) MM: Muna by Muna (runners up: Un Verano Sin Ti by Bad Bunny, Renaissance by Beyoncé)BEST SONG:AA: Home by Now by MUNAMM: unfortunately it's Anywhere With You by Maggie RogersBEST MEAL:AA: Kream N Kone - fish nuggets w/ fries + onion strings MM: street food bonanza in IndiaBEST BREAKFAST:AA: eggs benny w roasted tomatoes and fried potatoes at Hangar B MM: pandan donut from Gwennie'sBEST LUNCH:AA: torched salmon belly at son of a fishMM: Cantlers crab lunchBEST DINNER:AA: tomato pie at eeva MM: Moon RabbitBEST DESSERT:AA: apricot jam from machine shop MM: honestly maybe the crime brûlée at convivialBEST PURCHASE:AA: CDs MM: neon beaniesBEST DISCOVERY:AA: honestly, Spare TimeMM: Rock climbingBEST TRIP:AA: Cape Cod MM: Puerto Rico#1 RECOMMENDATION:AA: Scribd MM: the best social media application, GoodreadsWhat completely ordinary thing are you most grateful for right now in your life? MM: Leuchtturm1917 medium hardcover dotted notebook (don't question it, just do it) and Pentel 0.3 needle tip blue pens.AA: Reading IN/OUTMM: Playing > ContentAA: Reading > Judging Breakfast Salad > Food WasteRomance > True CrimeEric Kim > Anything on a BoardBuying bread from bakers > DIYHaving a Guy > Task RabbitEating at the Bar > TakeoutSunscreen > MakeupFancy Donuts > Dunkin DonutsNotes in Analog > Notes in your Notes AppMaking a playlist for your friends > Spotify AlgoTaxi > Calling an UberDiet Coke > Spindrift Connecting with your Community > Being strangers with your neighbors and regulars Store Bought is Fine > Unnecessary Complexities Phone Calls > Podcasts (lol) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit inyoursparetime.substack.com

CY: IG @tokyostationpens TikTok: tokyostationpens Esther: IG @esthermolinart Shops: TokyuHands: https://hands.net/ Loft: https://www.loft.co.jp/ Itoya: https://www.ito-ya.co.jp/ Traveler's Factory: https://www.travelers-factory.com/ Cute Things From Japan: https://www.cutethingsfromjapan.com/ Pinkoi: https://en.pinkoi.com/ Okamotoya: https://www.okamotoya.com/ Ancora: https://www.ancora-shop.jp/ EuroBox: https://euro-box.com/ Usagiya: https://www.8989usagiya.co.jp/ INK: http://net-de-ink.com/index.html PaperTree: https://www.papertree.jp/ Bungu no aru kurashi: https://www.rakuten.ne.jp/gold/bungunoarukurashi/ Tobichi Store: https://www.1101.com/tobichi/tokyo/index.html Brands: Traveler's Notebook: https://www.travelers-company.com/ Kokuyo: https://www.kokuyo.co.jp/ Furukawa paper: https://www.furukawashiko-online.shop/ Plotter: https://www.plotter-japan.com/ Hobonichi: https://www.1101.com/store/techo/en/ Arts&Science: https://arts-science.com/en/ Canon Inspic: https://cweb.canon.jp/inspic/special/ Polaroid: https://www.polaroid.com/ Nolty: https://nolty.jp/ Midori Hibino: https://www.midori-store.net/SHOP/5292/192542/list.html Kuretake: https://www.kuretake.co.jp/ Pentel: https://www.pentel.co.jp/ Movies: The Love Letter (1998): https://www.imdb.com/title/tt0140340/ Cape No. 7 (2008): https://www.imdb.com/title/tt1267160/ Mentions: @miraikat @sci.wri @akanenoplan Learn a little bit of Japanese culture with us: Sharpen: Mechanical pencil Noren: Short curtains Genkan: Foyer space at the entrance of the house or apartment Ajisai: Hydrangea flower Mendokusai: Tedious, pain in the butt Momotaro: Famous fairy tale of a child who was born from a peach Nengajo: New Year Greeting cards Fudepen: A brush that has a built-in cartridge with ink   Opening and ending jingle is Chi Town Funk by Mr Smith from FMA, licensed under Attribution 4.0 International (CC BY 4.0) and shortened by CY to fit the beginning and the end with fade out and fade in.      

WOW a whole year of Spare Time the pod (and four years of the MM+AA Podcast Project™️. We are so grateful that you are here!! We discuss the best food, media, and general ~*stuff*~ of the year of our lord 2022, what's in, what's out, and what we're looking forward to in 2023. The usual stuff, plus some bonus emotions! Because we love each other! Thx for listening we luv u too. FARE THEE WELL, 2022! SHOW NOTES⬇️⬇️⬇️BEST MOVIE:AA: Black Panther Wakanda Forever MM: Do Revenge (runner up: A League of Their Own)BEST TV SHOW:AA: Welcome to Wrexham (runner up Dopesick)MM: SeveranceBEST BOOK:AA: We All Want Impossible Things by Catherine Newman (Tomorrow and Tomorrow and Tomorrow by Gabrielle Zevin)MM: Lost & Found by Kathryn ShulzBEST ALBUM:AA: Subject to Change by Kelsea Ballerini (Runner Up Humble Quest by Maren Morris) MM: Muna by Muna (runners up: Un Verano Sin Ti by Bad Bunny, Renaissance by Beyoncé)BEST SONG:AA: Home by Now by MUNAMM: unfortunately it's Anywhere With You by Maggie RogersBEST MEAL:AA: Kream N Kone - fish nuggets w/ fries + onion strings MM: street food bonanza in IndiaBEST BREAKFAST:AA: eggs benny w roasted tomatoes and fried potatoes at Hangar B MM: pandan donut from Gwennie'sBEST LUNCH:AA:torched salmon belly @ son of a fish MM: Cantlers crab lunchBEST DINNER:AA: tomato pie @ eeva MM: Moon RabbitBEST DESSERT:AA: apricot jam from machine shop MM: honestly maybe the crime brûlée at convivialBEST PURCHASE:AA: CDs MM: neon beaniesBEST DISCOVERY:AA: honestly, Spare TimeMM: Rock climbingBEST TRIP:AA: Cape Cod MM: Puerto Rico#1 RECOMMENDATION: AA: Scribd MM: the best social media application, GoodreadsWhat completely ordinary thing are you most grateful for right now in your life? MM: Leuchtturm1917 medium hardcover dotted notebook (don't question it, just do it) and Pentel 0.3 needle tip blue pens.AA: Reading IN/OUTMM: Playing > ContentAA: Reading > Judging Breakfast Salad > Food WasteRomance > True CrimeEric Kim > Anything on a BoardBuying bread from bakers > DIYHaving a Guy > Task RabbitEating at the Bar > TakeoutSunscreen > MakeupFancy Donuts > Dunkin DonutsNotes in Analog > Notes in your Notes AppMaking a playlist for your friends > Spotify AlgoTaxi > Calling an UberDiet Coke > Spindrift Connecting with your Community > Being strangers with your neighbors and regulars Store Bought is Fine > Unnecessary Complexities Phone Calls > Podcasts (lol)

It's ok to be exhausted...Today's episode is a solocast. Marco will be your sole host and he begins with sharing that he is exhausted and it is ok to be exhausted. We dive deeper to hear what things Marco uses when he is exhausted to ease his mind.Here are some of the things mentioned on todays episode:Vegas Starfish on instagramHarvey Fierstein's book: I Was Better Last Night. Cue Cardstreadmill with location screensPentel pensClairefontaine papersnowtiresConnect with us on:Twitter: @listenandsleepInstagram: @theinsomniaprojectweb: theinsomniaproject.comPatreon: www.patreon.com/theinsomniaprojectEmail: drumcastproductions@gmail.com Become a member at https://plus.acast.com/s/the-insomnia-project. Hosted on Acast. See acast.com/privacy for more information.

Mike reflects on the Wild Wonder 2022 Nature Journal Conference and some art he has been working on. Mike is then joined by Maria Coryell-Martin to talk about her journey and how her job as an expeditionary artist led her to create her own company, Art Toolkit, supplying tools for nature journalers and urban sketchers worldwide. They talk about her various destinations and how we can use some of those experiences right in our own areas. Perpetual journal (Mushrooms, Buckeye leaves) Quick studies (Wood frog, Pill bug/roly poly isopod, Blue-spotted salamander) Bobcat in graphite (WIP) Juneau Icefield Research Program Thomas J. Watson Fellowship L'Anse aux Meadows Art Toolkit discount code (10% off using code MHDRAWS10 which is valid until December 31, 2022) Arches paper Canson Mi-Teintes paper Niaqornat (Greenland) blog post Norway Residency (2022) blog post Singla Creative Residency Thomas Moran (National Park Service) Emily Carr Kristin Laidre - Narwhal scientist Solastagia - Wikipedia Rosemary and Co (Art Toolkit store) Hahnemühle Toned Watercolor Book (Art Toolkit) Blue shop towels (Mike's Kit site) Pentel water brush (Mike's Kit site) Niji Flat Water Brush Captain Tom podcast (Episode 17) Aki Kurose animated story Inspiring Girls Expeditions ===== How to reach Maria Coryell-Martin ===== Expeditionary Art Art Toolkit Instagram @expeditionaryart and @arttoolkit ===== How to reach Mike Hendley ===== MikeHendley.com Instagram @Mike_Hendley Twitter @MikeHendley Mike's drawing kit Show notes at DrawingInspiration.fm ===== Support the Podcast ===== Become a patron of the show Buy Me a Paintbrush if you like the show or my work Rate and Review on Apple Podcasts Etchr Lab use the code ‘mikeh' for 10% off Share the podcast with friends and family Podcast theme music is “Acid Jazz” By Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

The work of Mara Cozzolino is nuanced and powerful. Her works of nature take the viewer to a wonderful place, of loss and of love. In Part 2 of my interview with printmaker Mara Cozzolino we speak about her mokuhanga method, the unique tools she uses when making large prints, her “cloud” lockdown project and I find out what shallow carving means. If you haven't heard Part 1 of my interview with Mara, you can find that, here. Please follow The Unfinished Print and my own print work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Mara Cozzolino's website. sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used. Mara's workshop Panel Prints - there are many different types of ways to make prints, and Mara uses different panels to make larger images. In ukiyo-e, shin hanga, and sōsaku hanga, diptychs and triptychs were ubiquitous . Modern printmakers like Mara, use many panels sometime up to ten. Here is a list of panel prints you may encounter: single panel, diptych, triptych, tetraptych, pentaptych, hexaptych, heptaptych, octaptych, enneaptych, and decaptych. brush pens - these are pens, usually refillable, which mimic the use of brushes, calligraphic or otherwise. Some bigger brands are Pentel, Ecoline, and Tombow. hanashita - or “preparatory drawing” this is generally the first image pasted on your woodblock, with glue. Some artists use gampi paper pasted to copy paper, some use other lighter natural papers. This paper holds the outline of your key block in order to make the necessary copies for colour blocks. Here is a a step by step way of pasting from David Bull and woodblock.com Paul Binnie - is a Scottish born artist and woodblock printmaker based in San Diego. His work has touched on the male and female form, kabuki theatre, Japanese history and tattoos. A collector of his works has created a website on his work and can be found here. His work is also represented by Scholten Japanese Art based in NYC. His Instagram page can be found, here.  Winsor & Newton - is a UK based fine art's manufacturing company. They sell all types of artist supplies including pigments. Their pigment page can be found, here. Holbein - is a manufacturer of artists materials based in North America and Japan. Their pigments are rich and vibrant and are used by many mokuhanga artists. Their website can be found, here. sumi - is a rich black stick, or liquid used by artists, calligraphers, and traditional Japanese horimono tattoo artists.  It is made from the soot of burnt lamp oil. Used in key blocks predominantly in traditional mokuhanga, it can also be used to mix pigments. Pigment Tōkyō conducts a great interview with their chief of pigments, Kei Iwaizumi, about sumi ink, here. aizuri-e - popular in the Edo period (1605-1867), these are prints made with various shades of blue, like Prussian blue. Artelino makes a great introduction video to a aizuri-e, here. mawata paper - from Woodlike Matsumura in Tōkyō can be found, here to purchase. As for the dates Mara speaks about, papers are made in different years and at times depending on various factors the paper may be made either in a superior quality or a poorer quality depending on your needs. yuki baren - is a ball bearing baren made in Japan used for large colour. It is a heavy baren but very very good at what it does. Richard Steiner, printmaker based in Japan, uses and promotes the yuki baren exclusively. More info can be found here on his website. My interview with Richard Steiner can be found, here Roslyn Kean - is an Australian printmaker who makes her own ball bearing baren called the Kean Ball Bearing Baren. The KBB baren comes in two sizes and are lighter than the yuki baren or other ball bearing barens because they're made of high-grade plastic. For more information about Roslyn, her work, and baren can be found, here. Annie Bissett - is an amazing American woodblock print artist. Her blog woodblockdreams can be found, here. My interview with Annie can be found, here. Her Instagram page can be found, here.  Lockdown Project 2020 - Mara discusses with me about her lockdown project from 2020, where she drew clouds she saw outside of her window. These can be found, here on her big cartel. reduction printmaking - is where an artist takes their block and reduces the wood by carving away whatever is unnecessary for the final piece, printing each reduction until one has the piece they're looking for. Cameron Bailey does a fantastic job of reduction printmaking. His website can be found, here and my interview with Cam can be found, here. His Instagram can be found, here.  aisuki - is a flat, fan beveled chisel for mokuhanga and comes in different sizes. itabokashi - is a type of bokashi in woodblock printmaking where the printmaker carves the block slightly larger than needed and then shaves away the edges. This makes a slight gradation, which is softer than the main colour of the block. Hiroshi Yoshida (1876-1950) sometimes used sandpaper.  opening and closing credit background music:  unknown (2021) © Popular Wheat Productions Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) if you find any issue with something in the show notes please let me know. The opinions expressed in The Unfinished Print podcast are not necessarily those of Andre Zadorozny and of Popular Wheat Productions.        

How important is color density in your gel ink pens? Zebra would like you to find out. Brad would like Pentel to find out who besmirched the legacy of Pikachu on their latest EnerGel, and then helps you decide on what to look for in your next planner.

How important is color density in your gel ink pens? Zebra would like you to find out. Brad would like Pentel to find out who besmirched the legacy of Pikachu on their latest EnerGel, and then helps you decide on what to look for in your next planner.

Hello hello everyone, welcome to Episode 8! “Pop-Up Show Prep Class. Let's Go!” Attention all makers!! This episode could be for you!!Anyone who goes to shows...pop-ups, fall festivals, art shows, craft shows, junk hunts, occasional shops...if that's you, tune in to episode 8. Whether you go to big shows or small show, today's episode is going to get you ready for your next show. It's like a show prep workshop.And you even get a workbook. For free. A free workbook. I can't even.This is the real deal friends!! We'll assess your last show, capture the learning, and help you make plans for the next show so you can feel confident about it. Purposeful, even. Here's how to listen to this episode: Ideally, you listen to it twice. First, just listen and think.Second, listen with our little workbook.  The workbook that goes with this episode is called, “Things Ya Better Know after your Pop-Up Show (and before the next one)” Get your free downloadable copy here and get it printed!www.angstocke.com/popupshow  What you'll learn:●     A new mindset to have while working ON your business●     How a show benefits your business (other than money)●     A simple calculation for your show's bottom line●     That the money is in the REFLECTION●     3 ways you could bring your team in to help you assess●     What you want to do for your next show●     What you don't want to do for your next show●     What you want to be different for your next show●     Specific ideas, tips + thoughts on being successful at a show And hey, can you start believing this? It's a mindset I'd like you to consider. “My business gets easier when I work smart. Using coaching tools to create awareness and then make informed business decisions is how I want to run my business. As a brilliant creative, I let myself reflect and think. I'm not just running on a hamster wheel, but instead know why I'm doing what I'm doing. I am purposeful.” Join me for a step-by-step walkthrough of your last show, and feel how easy it is to coach yourself into having a great show experience this year.  Get your printout, your Pentel mechanical pencil (of course), a tall glass of water, and a quiet space and enjoy preparing for your next show. Enjoy!  

2008-ban indult netlabelként, 2014 óta vinylen is kiadják a Cserháti Zsuzsától afrobeatig terjedő kínálatukat. Megrendelésükre elektronikus producerek az egész világról készítenek remixeket, angol terjesztőjük pedig világszerte elérhetővé teszi lemezeiket. Digitálisan a Dalok.hu felel ugyanezért. Izgalmas beszélgetésünk volt Pentelényi Pállal és Fonyódi Ákossal, a Budabeats működtetőivel. Közben hallgattunk Lindát, Erik Sumót, Cserháti Zsuzsát és Kobza Vajkot - többnyire remix köntösben. A Dalok-Galopp az NKA Hangfoglaló Könnyűzene Támogató Program támogatásával készült.

Kane De Wilde is on the leading edge of wing foiling as both athlete and designer.  Listen, learn, and apply it on the water! Interview transcript: Aloha. It's Robert Stehlik, welcome to the Blue Planet Show where I interview wing foil athletes, designers, and thought leaders, right here for my home office in the garage. We talk about Wing foiling technique and equipment, and I'm also trying to get to know my guests, their background, what inspires them, and how they live each day to the fullest. You can watch these long interviews on YouTube or listen to them as a podcast on the go, just search for the blue planet show on your favorite podcast app. This show was made for those of you who are as crazy about wing foiling as I am. I'm not rushing through these interviews. This is like the opposite of a 30 second Instagram video. They're super long interviews, and I know they're not for everyone. And really I'm just making these for the 5% of you that actually watch the whole thing. So I hope you're one of those elite people at the very top, the five percenters and that you're going to watch the whole thing. Today's interview is with Kane De Wilde He is an amazing young athlete. And before I talked to Kane, I didn't realize how involved is in the design aspect of the sport, a foil design board design, and also developing an R and D and wings. So he has some really in-depth knowledge, probably more than anyone I've talked to so far. And that's why this interview goes pretty long, but I think you'll find every minute of it is very interesting and I could have actually kept going for a lot longer. So without further ado here is Kane De Wilde: All right, Kane. Welcome to the blue planet show. It's great to have you here. So to get started, maybe just tell us a little bit about your background, start from the very beginning. Where did you grow up and tell us about your early childhood memories that kinda got you into water sports and so on. Hi, Robert, thanks so much for having me on it's super cool that you're that you're hosting something like this and I love listening to him. So that's going to be fun. I started the whole journey probably in middle school, getting into sailing, super into surfing skateboarding and. Through sailing. I was dinghy racing actually. I have a natural evolution of dinghy racing. I wanted to learn how everything works and how to improve and how I could do my sail better and shift my weight in the boat better to go, to get a slight edge. And so I started researching, how boats workout, how sales work, how your rudder and daggerboard work. And that's kinda what started it after that. So sorry, but you were born and raised on Maui or? Yeah, born and raised Valley. I grew up country lifetime surfer. Okay. And how old are you now? I am now 20, just turned 20. And and can you also tell us your weight that people always ask about that, right? Yeah. I'm six, six Oh and 195 pounds. That's very similar to me. So early on you started dinghy racing and then I think glider. Yeah. So it think directing your racing is so much fun and it's such a deep sport. It's crazy how the tiniest little fail tuning or tiniest little thing can give you such an edge. That's in white Kai on a wahoo new King day in an open Vic. I remember being terrified to go out that day. And my coach is K a K E N, or you gotta go, you gotta go, you gotta go. And eventually pushed me enough to get in the water. That's probably until that my, my best session ever. So that one was the boat on the right. I actually have that right here. This is the first thing I ever 3d modeled. Oh, cool. Okay. All right. And it's the first thing I ever glass. And it's what set me on this track. Really. So that's like a model of a like a displacement D sailboat. Is that what, it's more of a planning hall. But I made three different variations of these and took them to a river and tested the resistance with little scale. And that was my project, my big project for eighth grade. How did you test it in the river? I took it to a river with really consistent flow and it might be a little hole. There's a little hole on the front here, tied a rope through it, put a a gram fishing scale. I really finally find a fishing fill and just let it sit and took an average over a few minutes. And then why did you take test some variations of it or? Yeah, so I have three variations. I don't know where the other ones are right now, but I just changes in the outline or the rocker changes in the bottom just to see what kind of effect they have. That's amazing. And how old were you when you were working on that eighth grade? So pretty young. You were a little bit more, a little bit chubby before you got tall and lanky. I was flailing magic, isn't it? I know. There's like a lot of people look a lot skinnier after they started foiling. Yeah. Oh look, I was into kite boiling too. I, before I, I ever did it, but I made a little model foils. And took them in the river too. Wow. That's pretty cool. Yeah. Super fun. So we have a forklift and when my friends came over from hood river, awesome. We hooked up a bar to the forklift over the trampoline and I'm aware we're practicing our move and these posts are super old because I actually started to cover my college thing. If I could document all these different things to eventually show to a college when I want to get them cool. And it just evolved from there. Yeah. You did like glider planes. Yeah. Stridor, planes, kiting, all kinds of stuff there with my rudder cool cards. All right. And I met you a couple of years ago, you came over to a wahoo and you did that pumping contest where the point was to catch a hundred ways with your team. And I was sitting in the channel at Queens watching you are in the heat before us, and you were just going round and round, pumping back out, touching another way of going back out and kinda so cool to watch you like so efficient. And then even sometimes you would like rest and put your hands on your knees and glide a little bit to rest your legs and stuff like that. That was really impressive. Do you have any pointers on pumping technique? The biggest thing pumping is finding the right rhythm and speed for your foil. And being able to learn to have enough control of your pump to be able to vary like your speed and tempo until you find that. And it took a while of telling tuning in front wing and board placement to get a nice rhythm and be able to ride super efficiently. Another cool thing pumping is if you want to go for a super long time, the spot and wave and conditions, make a massive difference. So all of my longest waves have been on at spots with a good amount of power, right off peak and ideally two peaks next to each other, and a pretty consistent wave. That's why big, bigger waves are good because what you can do is only stay on pump out to a wave and only stay on it long enough to get your speed back up and then instantly kick out again. And basically do figure eight between the two peaks. And the goal was to not pump between the two. So you just stay on it long enough to get your feet back up, kick out with enough speed. So you can just collide into the next way without even pumping at all. Is that what you're saying? Yeah, I've had some like 45 minute ride and it was at that same, the same kind of setup where you dropped down the face of maybe a head high wave and then just two pumps to the next peak and do the same thing the other way. And the only limiter, which was really how consistent the waves were. So what killed me there was was a big break. So I know you've tried a lot of different wings and foils and you design them as well. So what what's your favorite right now? Which wing do you use for like combination of pumping and surfing? What's your favorite. I use a 10 80 mid aspects mostly right now. And I vary the tailing depending on the condition. So if I'm surfing and doing some low speed pumping, I'll use a different tail wing. And if I'm at, if I'm going like high feed, downwind, or winging, I'll use the tailoring more suited to that. But I actually have one of those links right here, the screen share, this is a version of that 10 80. I have one new carbon, but this is a carbon insert. And just the design up. And I've been refining for a few months. So this is, yeah, this is CMC that a G 10 with with an 11 millimeter. So this is a 11 millimeter carbon insert it's in here or epoxy didn't hear. And there's no, you can't feel any gap between the two material. And this is all credit to Dennis partner tectonics. He does just an insane job of CMC and finishing these wings so that, and that's where the signature line. No, this is just my own stuff. I originally did it super modified meal prep, but I have it here. I got everything ready. So I made this fuselage to fit that it's front wings. It might hard to see behind your black shirt. Yeah. Okay. Wow. Yeah, that looks really beefy. It's beefy in the center, but really the fender is. So I use signature old signature uniform mask. And center's just big enough for that connection. And the rest is pretty skinny. I tried to lower the drag, but still keep it stiff. Yeah, this is the Moses fuselage reference, right? So it's pretty similar in size to the motor. It's the width is the same, but the thicknesses it's thicker. So that gives it a little bit more rigidity by the mat around the mask. Yeah. Cool. It's just big enough to fit that math connection. So you do foil designs? Right now you're working with signature and Neil pride, right? You, yeah. Yeah. So I, yeah, I've done some work with signature and Neil pride and I'm pretty happy with how it all turned out. I can I don't know how to explain it. The no private thing was funny. I met Robert stray who was at the time the portfolio guy just at the beach. And we started talking to Zion Oh, we're looking for, we're looking for someone to make a photo. And I heard like you're designing stuff. And so somehow I ended up designing a full set for them. Or I originally designed to one wing is to called the medium slim. And there's some pretty cool videos of Calgary writing it, but they went really well. So after that I designed a whole line, but. It's kinda being thrown into the fire as far as designs, because we didn't do any prototyping. So I got one shot, like you got to design something and it goes straight to a stainless production mold. That was pretty intimidating for the first time. But I'm actually really happy with how it all came out. It's available now. I've been seeing some videos of people riding it. Wow. Yeah. I That's super impressive for you at 20 years old to be like a professional designer basically already. Yeah. And that design was probably one and a half years ago. So you started using 3d modeling software back in eighth grade. You'd said like with that kind of was your first class project that you worked on with the 3d modeling. And can you, like earlier you showed me on your computer, you had some design stuff. So maybe show us a little bit and talk a little bit about what kind of stuff you do on the design side. The super interesting I find, yeah, I can show a little bit of it. So this is the stuff I'm showing is mostly really old stuff. So my modeling is definitely trade secrets screen. So here's the, there's two. We did two versions of it, the one on the left and the one on the right is super solid. And it's amazing how much, like a tiny difference around here will make. Oh, it's just a front between the mass in the fuselage. It's a little bit more thick. Yeah. It's hard to see. I can see it. Yeah. A little rounded in there. Yeah. That's the difference between super solid and just spending until it breaks. Wow. Yeah, they were funny on our wings too. Like having that little bit more especially between the mass and the front wing it's the forces are amazing, like the, so that is a really important area. And the other thing is having your volume distribution along the length of the fuselage, as smooth as possible, because any breaks in that aluminum doesn't like that would be a failure point. Another big difference is the whole depth was different for this one had too deep of holes. And that took a lot of material out of the top of the fuselage, where this one has a slightly shallower holes that are still strong enough for the, both the wing on, but leave a lot more material in the top of the fuselage where you really need that string. Interesting. An access fuselage that cracked right at the front of the square mast opening, like at the end of the square mass opening. Yeah. I was wondering, I guess it makes it more inter compatible to have that square opening, but I was thinking, wouldn't it make more sense to have that mass opening in the shape of the mass, like the then out to back in front so that you have more material around the mask, without having a square rear end on the mass, if you just put the master directly into the fuselage, it would make it stronger between the mass and the few sizes. Yeah. I'm not an expert on structure. Someone smarter than me would know more, but It's probably better not to have sharp corners on your mask. Insert, I guess it just makes sense. If you want to switch between a carbon mass and an aluminum mass or whatever, or different size masks. Cause if you had, if you add the profiles of mass and you could only use that one mass with the fuselage, I guess so that, I think that's the main reason why they're doing that. Yeah. And it's a pretty good way to, I think these are based off of whatever cuddle or pro ball pro box insert. So it's a well-proven design. So what about wings? What have you learned about wing design? So yeah, these are tails that is for signature. These both were based off of a pale that I hand shaped and cleaned up the profile and cleaned it up a lot. But I was riding the stealth of the truck a lot of the time made  and would core carbon lay up Hills that I really liked and were awesome with those foils. And yeah, I base these off of it. There they go really good on the Palm itself, especially it's very similar except for the tips, right? Yeah, they are very similar. This one has a little more span and tips. I made it basically for the one 65 all the trough and this one was pretty much made for the one 75. And so I find the angles and everything like that, the wingtips were needed because the the high aspect links, just like a little bit more stability also because of the math, the different, there's a difference in math placement between the two foil, for people that don't know that much about oil tales. I always stay like that. Those tips are almost like fins on a board. It gives you like directional stability and having a flatter, you, it just makes the tail more loose, like having basically smaller fins or you can slide out the tail almost like you're saying. Yeah, you can turn on the mask instead of doing that. The other thing I really paid attention to when doing tips like this cause I've got a few tails is I wanted to make the tips thin enough and small enough that at low speed you can still pivot and stall the tips out or walk, wash them out. And so at low speed coming up the face, you can still pivot the turn, but going fast, they would lock in. So I made them thin and low cord and pretty vertical. Yeah, low drag probably. Aren't so good for pumping. Nice. Okay. What about front winks? So front wings, these are a bunch of a bunch different wings, but I worked on with Neil pride. Some of these made it to production. Some of these didn't for example, this is the XXL 2300 these are both 17 hundreds, but with different aspect ratios, small, medium, large, extra large. And this is super interesting and this is where I learned most of my, a lot of my idea of how I should design foil and how to do, center connection. It helped me a lot. And these are the pills impressive that you're already doing all this stuff at your age. I can only imagine where you're going to go from there. What are your plans in the future in terms of that kind of stuff? Do you have any professional aspirations to become an engineer or design like designer? What is, what are your plans? For now, I'm pretty happy. I get to, delve super deep into design and I get to surf every day while I'm young and living in Hawaii. So right now I'm pretty happy, but in the future it would be nice to do something other than, because I'm from the surf industry and it would be nice to go to school and further explore this kind of path. It seems like to me, it seems like you're doing fine teaching yourself. And for things like, in the water, the foiling and winging, it's so much more like Rob widow was saying too it's more about the feel and, you can have the scientific theories to explain it afterwards, but really without the, trying it and feeling it out and trying to figure out what, how, what works and what doesn't work actually in the water, you don't really know what's going to work or not until you try it. Really. Yeah. So that's what I've been getting into recently is first I went super deep into like simulation and trying to predict how these things work, but. Some of the results I got didn't match up with what I felt in the water. So I've been slowly climbing my way back to finding, okay, this is what happens on the computer. And this is what I feel in the water. And ideally I want to be able to predict everything on the computer and run through designs. And so in the last month or so I've been getting closer and closer to doing that. It's really hard and I definitely am not an expert on it. By any means, pretty impressive. I don't know if you're not an expert. I don't know who is. And then you also design boards, right? Like you said, you do some board designs and then you work with Mark Rapa horse. He builds them for you basically. Yeah. Huge. Thank you at the marker up. He's amazing. His construction is unmatched so far, but I'll share my screen again. So these are some old downwind boards I prototyped. So this is one that actually came out. You could probably feel my Instagram page. It's a blue board, white stripes big step six. So by 20, I think it's 25. And this is what I, this is the first design. I was like super psyched on it on a fucking deck. But there's the practical limitations to making this, like the thickness of the blanks you need. And so I ended up making this, tried some interesting stuff with the rocker and it worked really well. And it led me to my, my, my more recent board with the pin tail because this board, if there's two, I found there's two ways to get it to wave. Now you can either pull up paddle and glide into them, or you can move the board a lot. It's pumped into them, right? And this board did insane for gliding into waves. And I found it worked really well, pronoun winning because you don't have the ability to pump up on the flow. But stand up, I had a hard time because of all this volume and with the Mattel and also lower order, it was hard to get it up on the foil. What's the bottom design on this one? Like the bottom shape. It's pretty flat. I checked some interesting stuff on the rocker. There's a rapper. Is, there's a concave here in the center, rockers different from the rail rocker. Yeah. The bottom is actually, this is actually the bottom surface of an airfoil. And you're saying that because the, because it's flat and straight on the bottom and is good for gliding in, but not as good for pumping into pumping up onto the foil. Is that what you're saying? Yeah. And I can see it could be fixed with more rocker in the tail, but then at planting speeds, it really doesn't that rocket tends to stick. And the takeoff speeds for getting to downwind are into the planting speed. So you can't have that. And it ended up with my pin tail design, which still can be improved, but I have basically dead flat rock throughout the tail. So it can release in plaintiff at speed, but not a lot of surface area or volume in the tail. So it can still move and pump on the foil. I see. So you're keeping the bottom flat, but just by having a narrow tail, it allows you to like hop on, hop up on the foil easier. Yeah. And I think Dave designed to probably have a more refined version of this. But this, the board of, and writing works really well. And the other cool thing is because there's so little material and the nose and tail it reduces your swing weight a lot and it changes the center of gravity of the board. So on this Pentel board, I pretty much stand in the dead in the center. And so there's no notes in front of you for that. So you might the ride purely like a five, four. So next board is probably gonna be a six, four. Instead of a six and 22 wide or something. So that's for downwind foiling. What about wink, foil board design, like what's what, w how does it differ from stand-up and foil board design? What kind of boards do you design, or you it's funny because pretty, you could pretty much get anything up on foil, but it really matters in light wind. What I found is you are not my pin tail board and you want, or you don't want any of my stand-up boards, because they're hard. For some reason, they're hard to steer it's something with the outline. And then the little rocker makes them, like, when you in the parent planning transition zone or speed, they'll do opposite fearing like a boat, or like a race standup board. Oh yeah. Yeah. And it's probably a low nose rocker or something, but yeah, definitely avoid that. And my pin tail board, so much area in the nodes versus the tail, but the note pushes down, going up wind, and you need to compensate for that with extra pill paling angle. You're saying when you're up on the foil, having that chat knows has like more drag in the wind, basically. Yeah. Okay. Big time. If you designed a, have you designed a board that's just for wing foiling or what would the design specs would be on a wing for a bomb? Pretty much just take your on board and scale it up. Like direct, like you can scale all dimensions up to five foot and it's perfectly, if you just had one wing board for you that you can use in light, wind and all wind conditions, like what size and volume do you think would be good that you would use right now? I guess 22 to 24 wide and 70, 75 liters. Sorry.  bye bye. So 20 to 24, probably 75 liters. Oh, wow. That's pretty similar to what I have four sticks, liters, bottom shape. Super simple, no concave, no, nothing special, no steps, no concave, just as simple as possible because that I found that gets you up really fast. I like, and Dave Kalama talked about it too, but there's that theory that the con the convex shapes just releases from the water easier, like the word, when it comes off the water just slides off of it versus concaves and tight edges. Sometimes the water can stick to it or like the surface tension of the water gets stuck on the, on those hard edges, yeah. The other thing with the wing board is sometimes like when you touch down, a lot of the times you're touching down at a weird angle to chop and concave and sharp edges in the front, instead of just going through it we'll create a lift in some direction and shoot you off one way or another. So yeah, simple bottoms like convex or concave works. I, I totally agree with that, but obviously there's two schools of thought here. Like a lot of the prone boards have a lot of a lot of concaves and sharp edges and stuff. And I guess, there, there's gotta be some advantage to that. I I guess it has more lifts at lower speeds creates more lift, but yeah, like I said, there's definitely downsides. So it's so what's your, yeah. As far as my experience riding them, I haven't found any advantages. But they look really cool and they do make a lot of lifts at low speed. Yeah. Does it help a little bit with the takeoff or I guess on balanced, do you think don't think it's worth it to have all those concaves and hard edges, personally, I don't think it's worth it. I don't mean any disrespect to anyone who does it because done right. They can work really well. Yeah, something that's really helped me when I, setting up the board, was when you said, like you, you check your, basically the thickest part of the foil. Do you have your board upside down? If you lift up the board by the foil, the thickest part of the front wing profile, then it should, the board should be pretty much flat and balanced. So I thought that was really helpful. And then, it's interesting too, because sometimes different wings like have an access for an, I changed from the seven 60 to the eight, 10, and the, for some reason, like the distance of that profile is so much different that after go from the seven, 10 is like at the front of my box and on the eight, the seven 60, sorry. And then on the eight, 10, it's all the way in the back, so it's like a big, pretty big difference where the foil is located in terms of, keeping my feet in the same position, the same foot strap positions. Yeah. The biggest part of that is, is keeping your, it keeps your front wing in the same position. So they probably have different distances between the front wing and the mask. So the mask will move, but the frontline stays in the same spot. And and then I was thinking about why it is that it works well like that. And then I guess when you're when you're pumping and unwavering, the board by itself is balanced on, on the foil. So it's not like it wants to like nose dive or stall or whatever, even if you completely on way the board will be sitting there and gliding. But my, my kind of school of thought around it is ideally you want the board to fly pretty neutral as far as the pressure. And you want that foot pressure to be consistent across all, all speed. You want it to be consistent across if you're in a turn or if you're going straight or if you're pumping. So what doing that does is it puts the center of gravity of the board over the center of lift of the wing. And that means when you put it in a turn and put some extra T4 on it or yeah, mainly if you put it into the turn with that extra G force, it won't change the balance. If it's nose heavy and you put it in a turn. That center of gravity, push, push down and pull your nose into the water. And if it's too far back, it'll do the opposite and pull you out of the water. And so that's a baseline and depending on, I always pick a tool with me in the water and change it a little bit, depending on how the foil students, but a big difference. Something that I noticed for myself, like when I used to just stand up paddle surf or pro surf, I used to have my back foot a little bit more forward, but then when I started wind foiling, my back leg always got so tired from always putting more pressure on my back foot. And so what I started doing was putting my back foot further and further back. So basically now I have my feet. So the center of lift of that foil underneath me is right between my feet. And I've got just equal pressure on both feet and that's something I learned from wing foiling. And now I also do, when I'm Santa filing, I always have that same foot position just because it's way more comfortable and efficient. Is that kinda how you balance out too, or? Yeah. And it's, if you watch a lot of my clips or watch. I'm usually sometimes my back sits way in front of the master. And you think, Oh, that's weird. Most people have their backs up behind the mask, but my front foot is really far back too. So I try and keep my center of gravity always right over the front line. And if he can see it I just got them downwind clip. There's a good video clip. Let's click play one of these. So is the Harbor one of your favorite spots on Maui or Harvard? A pretty good spot. Flailing ruined me. So pier one is my favorite spot now, but just directly outside the Harbor, but there's also a spot on the West side. That's really fun. Foco right off the line of sight of poco. And that's. That's one of my favorite waves ever. It's crazy. That's obviously an older footage and the board looks so huge compared to what you're writing now. Yeah. I really liked that part though. Sometimes I'm actually going to bigger boards now. That's a, FORO that's on the screen. That's a four by 20 now I'm writing a 42 by 19 and my next board is a four, six 18.5. And just to be able to catch the wave easier and paddle back out easier. What's the idea behind going a little bit longer. Again, is. Think bigger waves. I want, I live on the North shore of Mallee and most of the spots in the winter are a bit bigger than, and I want to paddle into my, on my 42. And the other thing is hitting of pitting the whitewater or getting critical and critical sections of the wave. My 42 has a nice rocker curve, but it doesn't have enough rocker. So I basically on my four six, I just extended that rocker curve to the most of the board. Same, but I have a little bit extra nose for recovery mostly. And yeah. So when you put it in, in a head high bit of foam or the lip, it doesn't really care. Like you can recover weight easier. So actually that's another question I had for you on the rocker, like people have been playing around with the shims underneath the mass blatant stuff like that. And it's basically, you can put a little bit of rocker in the board and get the little bit of that, is just, what's your, what is your feeling? And I guess it depends on the foil of course too. And do you like to have the mass or the plate completely parallel to the bottom of the board? Or do you like to have it like a slight rocker to it and then the tail that, where the manual, most of. I do most of it in the doc with the referee, my board. But I know people are put, are going like really, almost negative with their Shem. So that's interesting. And I think it works really well on smaller waves where your front wings running a higher angle of attack on big, I found on small waves. I liked boards with lower, almost parallel angle between the foil and the deck or the box and the deck and on bigger waves. I like a lot more like my front foot up a bit. Yeah. Like to me especially when you're going faster if like that having that negative angle helps with it's a little scare. Oh yeah. Yeah. You're going fast. And especially like on it, like if you're toying in or going fast and you have that, the nose is pointed down a little bit, as soon as you touch down just slightly, you done. It's like your board sucks down when your nose down. Yeah. Yeah. So it depends on the wave. And I, I just have my boards have a really light tail rock. I can always show the front wing too. This is my setup. It lets me. Shit in the front wing to different angles. So that's useful. Yeah. So I was going to ask about that too. So do you, I guess the wing designs you have are mostly like, where the front wing screws flat onto the fuselage with two or three screws. And then so it's basically just the screws holding the, holding it down against that flat area. Do you ever have issues with it, like loosening up or like how do you keep those screws completely tighten and keep it from having any play? I use about I they're big torque screws and I use probably six, six inch lever and just crank them way too tight. But the reason I use that connection is the limitation of how I build the wing. I make the wings out of a solid panel with carbon and on a three axis CNC machine. So there's not a good way to get enough thickness in the connection area or go in from the side to make a male-female connection. So the on top kind of works really well. For example, I just made the swing fit, active case series. This is for the access case series and that's a similar kind of fuselage work. Just it just bolts right on top. And the reason I couldn't do like the black series or their old sq floss is just because it's too thick for my panel. The wing, the wings are too thick and the connections too thick. So this is the only thing that would let me get thin enough. Yeah. You're going super thin with your foot. For design sounds crazy for us for higher speeds, right? That's basically less drag. Is that the idea behind it or, yeah, you do. You do sacrifice a little at super low speed. But I, if you use the right foil section, you don't sacrifice that much. So do you on NASA foil sections or how do you use this, modify them or what you come up with your first sections? I designed my own sections, just trial and error. What works for you and no using trailers, inverse design. So I specified the surface velocity of the fluid over, over the top and bottom of the wing basically. And that'll give you your shape. Wow. The maximum velocity you can fly at with your wings. Like that 800 probably top, it has a low tops size. It probably pops out at 39. Just because it's a fairly blunt foil, but the good thing is with that one, it's super stable until that speed. So I actually, I've never hit the tough beat on it. I have one right here, 600 insanely fast, and it's basically a super, super fan. So what's the idea behind having that pointy tip on the front? It looks like a, like an airplane, the fuselage being too long for the quarter. I need to get it in. I need to set it in the right spot and otherwise I would end up with kind of an ugly front connection. Yeah. So the tip it's not like it's just to make up for the length of the few slides that either the design. Yeah. Yeah. If you're going really fast like the America's cup boats use it, it's called a what is it called? Where it raises keeps the pressure more, even around that connection. And it reduces cavitation around that, around the interface of multiple wings, but I'm not going fast enough and I'm not designing it to do that. He droves. Do you put the hydro into your wing a little bit or do you just keep pretty limited? This one has some freedom. Very slight dihedral on the center. Oh yeah. I've got some freedom with winglets. And the winglets on, these are more for a, more like a bit of a locked in feeling because if you go dead flat, it can, it gets washy sometimes. So you can play with changing your oil sections at the clip you can play with changing your like winglets or a neutral up a tip. Or you can do some fun stuff with twists to get a bit more of a locked feel. It's slightly turned up wingtips. Is that so you can breach the foil easier in terms? Yeah, it makes a really big difference in, in breaching terms. It's way gentler and upward one tip what you breached breaches tip at a lower angle. So on a following, in a turn, you can breach it. It doesn't matter if you have a wind load or not, but if you're a little straighter up, so like this will breach, but like this you want a little bit of a wingless if you're super worried about. Okay. Just so the tip comes out first and the, and disrupts the water surface less. I've found the angle between the wing tip and the water surface is super important. So the more perpendicular they are, the general area of a wingtip reach you'll have in general for section makes a huge difference. For example, like the oil foil section is insane for breaching. Like you'd never feel it. Yeah. The velocity across the top surface is really consistent. There's no pressure spikes and it's pretty impressive. So it turns out my buddy Derek comma does on the psyche on the geo and then those go for wings. Is this amazing? Like how are you coming out? Yeah, cool. I'm having a lot of fun on this. That's super interesting. I could just talk about design this hole for a couple of hours, but I guess we should probably move on to some other things as well. I don't know. I think everyone that's listening is going to be super interested in this as well, but let's talk a little bit about a wing design. In terms of, wing foiling wings, it's, this is supposed to be a wing foiling show more than anything, but what's your experience? What kind of wings have you tried and what do you like the best and so on? So I. I work with with a winged pretty talented wing designer. And so get to try a lot of prototypes from, for a lot of different brands and a lot of different materials and styles and handle them all kinds of stuff. And it seems like they're going to more and more attention to the Cathy of flutter shape a stiffer shape, and you can get a big increase in speed and efficiency from that. So I really like having you like having a flatter wing shape, less profile, basically. Yeah, definitely. A flatter profiles are nice just because the apparent wind angles they can handle it. It makes it nice for the wind or going up wind have really high are tight angles. It doesn't let her as much when you're going at a tight angle, yeah. Another thing is stability. I'm not an expert on wing design, but having a stable wing that's that, that flies neutral and wouldn't be powered is it's pretty important. And makes a lot easier. So I've been liking the wing rides and the emphasis. I tried some PPC stuff that's insane. And also the BRM. I really love the BRM wing. I think tested and helped with the design and so on. The BRM. Yeah. So talk about the BRM. What's what makes that one special? So my dad's had a BRM link for a long time now and the way they eat Gus is super impressive. That's what kind of surprised me the most when I wrote it in gusta conditions, it's just smoothed out everything. Your power is really consistent and they can handle high speed, low wingspan sense for surfing too. I haven't tried the wings. What is it about it that you think makes it work like that? Or what are the design features that you think work well on the BRM? They're pretty low aspects. That probably helped I really don't know. The handles are super solid pretty low flex and they don't have any windows, so it's a really consistent reaction or material across the canopy. Personally, too, like after trying wings without windows, I like it, I like not having a window, but what's your take on that windows versus no windows? That's always one of those big arguments. If you're riding around a lot of people especially a lot of beginners use the windows or windows really nice. Being able to easily check your tack, like before you do attacker drive is great. I tend to ride like at hook Keepa where there's not a ton of people and there's a clear rotation, so I prefer window windows. Yeah, it's also better for packing them up and you don't have to worry about creasing it and so on. And a lighter way. And I don't know, there's a lot of dependencies to not having a window, but yeah, definitely the safety aspect. Although I find that it's pretty easy to just look under your wing, right? You just lift it up a little bit and it is, the best windows I've tried are on the new Cabrina wing. The windows are massive. They're really the first one or one of the first ones that you can actually, you can see everything through. Yeah. One thing I really like about the wing is the handles. It's a soft handle, but you have probably a good 10, 12 inches to move your hand around. And that's really nice for adjusting to different conditions and different kinds of writing. Like a boom. Yeah. Having the longer handles, it does help with tacking and stuff like that. Cause you can put in right next to the other one and stuff, but do you find that sometimes the longer handles have a little bit more give so there's less control with your risks? Do you find that at all? Or? Yeah, I do. And some of the newer styles that I've handled I've tried or are stiffer and have a lot less of that you definitely have more control. The one thing I really like about booms is in the last week, I've started riding with a harness and having a boom is really nice to hear if you're riding with a harness and harness line. I've never tried harness before, but like Alan cages talked about it and I'm interested in trying it. I definitely would do want to try it out. Yeah, it's nice. Because I started doing it because I've been doing up winners from  on Maui and I don't know how many miles that is probably five miles upwind and it was just, it just destroys your arms and your hands. So it's nice to have something stick a load off, so was this from your knee when you had your knee surgery? Ooh. When did I have my knee surgery? Yeah, that's uh, right after I, I injured it. I've done that a few times. I originally did it surfing. Just went up for a top turn and busted. My knee was out for a few weeks. Doctor said after probably three weeks, he was like, Oh, you're good. You should be good to go back in the water third way of doing it again. So without, for awhile after that did a ton of PT came back, was good for a few months. I think I did it again in boarding. I'm sorry, I couldn't hear what you said. What was the injury? Originally, so that the injury originally was from surfing. I went through a tough tournament, dislocated my kneecap. So my knee cap went from the center all the way to the, basically the outside side of my knee. Like from overextending it backwards or like what happened? Like how did it happen? Not really sure. After all the x-rays and stuff, it seemed like just, it's just like a genetic thing. Like my kneecap far off, far off to the side, especially on my back knee, which got stressed a lot from surfing that kind of tuck knee position you do surfing. It's not good for your knee. So it's basically kneecap slips off the front of the knee. Is that what happened? Like sideways it slipped. So if this is the top of your knee and you're looking from the front or from the bottom of your leg, it's slipped off to the side. Outside of uni to the outside. And there's just a little a little whatever ligament holding that in as well as your quad. But when that happened or the ligaments probably stretched the first few times, and then the last few, it probably broke. I know in the last one it was broken. And then, so the surgery, they had to replace that ligament or, yeah, the surgery is called an MPFL reconstruction and or replacements. And there's two ways to do it. Where the one way they'll take some of your hamstring and replace that ligament with your hamstring. And the other one is where they take a cadaver from an Achilles or a hamstring and do the same thing. And luckily I got the cadaver. The cadaver is really strong. It's like the third and put it in a good way. It's like upgrading from accomplish to a jaws leaf. So my old ligament, like on my left knee is it's accomplished and the other one is the job. So it's pretty cool. And it's it's an amazing surgery. You can actually it's full weight bearing 45 minutes after. Wow. Pretty until you had to recover for a while. And yeah, it took us probably a week to get walking again or walking comfortably. And what'd you say you were hunting back to a hundred percent now. Like he can do everything. Yeah. I'm at least 95%. Now your quad does a lot of work and keeping, keeping your kneecap stable. And as long as you, you pay close attention to how tired or exhausted your quad is. And I've been doing like yoga and using the foam roller as the ways of managing, managing it, managing my leg and keeping everything stretched out. And it's a good way. Good way to recovery. Yeah, definitely. Sorry, go ahead. That experience and doing that a few times definitely taught me a lot about paying attention to my body and knowing when to stop. I think that's a valuable lesson to learn knowing how to recover, because when my age, like I'm 53 and it takes a lot longer to recover from stuff like that. So it's good that figuring it out at your age. Yeah. There's been a few sketchy moments, but the last probably few months have been awesome. Nice. So in terms of other, do you do other legs, sports cross-training hobbies other than foiling and water sports and so on? Not too much. I tried keep a good variety of foiling. I've been doing yoga recently. That's actually been super fun, but yeah, occasionally I'll go mountain biking. That's a good bit of cross train. Okay. Do you have a routine that you follow every morning or like what's a typical day in your life? Starting when you get up out of bed? Nah, I don't have a, I don't have a super, super strict routine, but generally I wake up and I do a little bit of stretching in the morning. I do maybe a little bit of rolling depending on the amount. Depends on how I feel. And then. Whenever you either try and get a good breakfast and do some work shift, shift tales, or do some designing. And then I usually go for an afternoon session. So then your busy time for getting some mornings, generally my busy time and also late at night, I do a lot of computer work. So most of my designing stuff is after dinner. So when you work on the computer and you're really into something and like how long will you stay up and work on your computer? Are you like an all night? It depends. I try if I'm really into it. I try and go to bed before at 12 I'm like, okay, I got it. I got to stop now. But sometimes I'll get really into it. Especially if I have a big project I'm working on or make a breakthrough and I'll go 10 to 14 hours just locked in on the computer. You're more like an, you get creative at night and in the nighttime, huh? Yeah. For example, a foil I just designed, I spent. Probably 10 hours a day straight for a week, just like on it, super focused remember in the future, like what, where do you see wing foiling or foiling going? And do you have any new ideas or new projects that you're working on? Anything you can share stuff that's coming in the future or things you, you can imagine or see for the future? Yeah. So my, my favorite part of wing foiling is probably the accessibility of it. And that you can get so many people in the water learning to fail, going fast, having a ton of fun, and you can do it in so many places. I like, I'm at the Harbor a lot and that's the Mecca on Maui for learning to win foil. It's cool to see entire families that, that sometimes don't even surf. And I've never done a wind sport getting up and you can watch them improve. And in two weeks they're up and going up land and having a blast. It's definitely pretty cool. This video is at the Harbor, right? Yeah, this is pretty cool. Where you're handing from the, doing a takeoff from the boat ramp and then grabbing the wing on your way out. Talk a little bit about why that was funny. I showed up one day with my weighing I'll to go. I think I just got that sale. And it was way too light to go out. But luckily I ran into Scott Mackey and Jason Hall and I was like, Hey Scott, can you start at the end of the pier and hold my way. Instead of beat started managed to somehow make it and actually thought that was a super fun session. Yeah. This looks like you just had to get out to the wind line, pump out to the wind lane and then it was windy enough out there. Yeah, it was probably like 15 that day and back on the generation. One way. That was pretty light women. Yeah. That's cool. Let's see. Oh, this one. This is cool. People talk about that one a lot. That was a fun session out on a board of Sean. It looks like your friend is almost on the nose of the boredom. Yeah. He had an old belly board. They put some foil tracks then. And I forgot how long it was. I think it was a two foot board. So the front of my front foot was basically off the edge and my back foot was pretty much the same. And it was just like a good, consistent day out a thousand peaks. And later that day I had my longest drive ever. That must be pretty hard to take off on that board though, right? Yeah. The only you can't catch the wave on it pretty much. So you have to beat you started, Oh, that's what you did. What was the beach started? That was the only way I could get it up on foil is the beach start. But this video is a little deceiving. Like people are like, Oh my God, how do you pump that far for that long on the inside. There's a rock wall and there's backwash coming off the wall. And so most of the way out, or pretty much all the way up back to the peak, you can get a decent backwash of so the whole time like pumping, I was less focused on my pumping efficiency and more focused on all right. How do I stay in the power of this tiny little backwash wave. Cool. So you basically time your kick-out with trying to find the pump. That's going back out again to take you back out. Yeah. And one thing that saves a lot of energy pumping back out into a wave is trying to stop pumping super early and glide into the wave. I catch myself a lot pumping all the way up until I'm going up the face and then turning when really I should be stopping 30 feet, 15, 30 feet before. And just gliding into it because then once you turn, you create more lift and then once you're on the face, then you don't. Yeah, I'll get the part, you can save a good three or four pounds. Interesting. I find like when I first started connecting ways that if I stopped pumping too early or turned too early on the wave, then I was basically drop off before I got on the wave. So it's kinda, you do want turn pretty high on that. So the other thing was pumping is staying as high as possible on your mask because by thing as high as possible, you store you story or your gravitational energy and you ranked in the possible glide slope and your wings also more efficient. Plus the surface. But if you come into doing that really high on your math, you can use that all that gravitational energy you've stored to collide into the wave. And then once you're on the wave, you have enough power to bring it back up again. Yeah. That makes sense. And so I guess that's the reason why you do do those kinds of short, quick pumps. So you don't like, you basically keep the mass pretty high out of the water and the foil closer to the surface. Yeah. Part of the short, quick pumps is they work really well from a body mechanics point where by changing how short, quick or long, like a shorter long your pumps are, you can stress your body in different ways. So a really long pump will be easier on your muscles but your heart and your lungs will work harder. The short pump are harder on your muscles, but don't stress your heart or lungs as much. So explain why do you think the foil creates more? It seems like the foil creates more lift when it's close to the water surface. Is it, or is it, is the reason why it's more efficient because there's less mass than the water and has less drag or is it because it just creates more lift when it's close to the surface? What's the, I don't have a solid answer on it, but I have a few theories. So one of them only left master the water that makes a big difference to you are moving, the foil is moving less water around itself, right? So th the low pressure side of the foil makes a lot of the lifts and it pulls a lot of water in that water column, above it down to make that lift. And by being closer to the surface, there's less water available to pull. And so before I was actually doing less work and making less drag I don't think you're making any more lifts, but you're definitely making less dry. The other part of it is by bringing your foil close to the surface. This is this the part I'm really not sure about this. You could be end plating the tip vortex, especially on really flat foils where. There, there might be some kind of interaction with the wingtip Portex and the surface of the water that reduces it. I see. So basically you, because you're closer to the surface, there's less room for it to create turbulence basically on the table. Yeah. I'm not sure about that because if you're really close to the surface that actually creates a wave and that could use more energy than I'm not sure about it, but definitely moving less water around appending, less water or less mass in the water. It makes a difference. Interesting. Yeah. I've been trying to figure out why that works. I've also noticed that there's definitely a ground effect. If you're pumping over shallow reef and the Reese right underneath you, you can go to push it. Yeah. Yeah. Something I do a lot winging is especially if there's a Sandy beach is go really fast towards shore and put the foil in six inches of water and try and glide down the beach as far as possible. So you got to stay super high and almost touch your foil. The bottom and see how far you can glide in ground effect only works for the flight wings. So generally I don't do it in six inches of water, but we have a spot where you have to go over the shallow reef to go come in, and and definitely, yeah, you feel like basically, even that lower speeds, you just got more lift off the foil when you're right up right over the grief. Yeah. I think the general rule on plans is that if you're within half your wingspan from the ground as a real effect or a noticeable effect, we can have your wingspan. So how long is this video? This is like a half minutes and you're still flying. It's amazing. I guess that was the dog that can't believe his eyes. Huh? G P is hilarious. Yeah. Yeah. The AI, if you haven't seen this video, you got to listen to the content comments commentary. Awesome. Yeah. Yeah. I almost want them to just hire the film and commentate on it because it's great. So hard to see this, but yeah. So yeah, so I actually started passing the wing behind my back when I'm going upwind on the waves, but I guess you're going downwind and then you're passing it in front of you on a bottom turn. So yeah. Talk a little bit about that. The technique. Yeah. It's mostly, I mostly do it. To control my upper body rotation. So by, by passing it to my front hand on the bottom, turn it left my shoulders, open up towards the face of the wave. And by switching it to my backhand on the top turn, I can actually twist my body around and point my front arm more far, farther, backwards. And more recently I've been, I've been using the wings power and leverage through turns. And my limitation is still when I do that I'm still working on it, but I like using the power of the wing on the top turn. But then your wing is still on your front hand. So on the way down and you have to switch it and open your hands up again, and it's hard to get your speed. You need a bunch of speed to get out in front of the wave for your next bottom term. So it's in progress to get some video of that soon. Let's talk a little bit about wing size. Okay. Do you what wing size do you like to use? Do you like to use a bigger wing for jumping or do you like to use a smaller wing for handling or what's I use, I have a two, five. I love when it's nuking and I have a bunch of sizes, but pretty much 99% of the time I use my two, five, or my three, five and the two fives. Great. But hard to get up, you need a seriously. And with the three, five, I can get a prone and probably 18 knots and I can get up, stand up in six months. Yeah. I guess probably you're always trying to, my theory is always try to use the smallest swing I can get up on, basically, because once you're up, you don't really need much of much wing size. Recently I found I don't need anything bigger than a three, five, three, five will get me up in the lowest wind. My foil can fly in. Which is about how many nights would you say six nights with the three, five wing? It's funny. Cause there was Rob whittle was saying that he likes to use like either a three more three meter for me here in that four meters is the biggest he uses now. And he can get up and tend to 12 knots. And there was a bunch of people that were commenting that's impossible and blah, blah, blah. But I have to agree that you can get up with a small wing and pretty light winds. Sometimes you might have to wait for a little gust or, and just really work at it. But once you're up, then you don't really don't need that much wing. It's really all dependent on your board. If you have a good board, you can get up with a much, much smaller wing and way less wins. So what kind of board is that you would use? I use my downwind stand up word. Didn't you say you need to have the planning speed to get that thing going. So you get it up to planning speed with a small way. Yeah. On my take off speeds, like eight, eight, nine miles an hour. But if I check in like when they get the different tailwind that probably lowers that about a four mile an hour. So a bigger tail wing or more angle on the tailwinds are both different funds okay. So a little bit thicker. Oh, okay. It's just a different, yeah. A different floor section and a little more cord. Interesting. So Lakeland like the front Wayne compared to the tail wing like in terms of, the effect it has on the foiling experience, like how would you compare it? Is it like 80, 20 or 70 30, or is it hard to start to hard to quantify? Steph would be 30 or 60. 40 is probably a a good number. Actually, no 70. So basically what I'm saying is, with the same front wing, about how much can you change it by changing the tail wing? It depends on how well tuned the rest of your setup is, but I'd probably give 50% or 60% till your full board box placement. And you're telling to me interesting. Wow. Yeah, those are good. It really makes a difference. Like it doesn't matter what frontline you're on. It'll ride good. If you're killing a student. And you're in, it's in the right spot on the board. And if it's off, then you're gonna, no matter what front line you're on, you're going to have a really hard time writing. Okay. I think we're going super long, but it's super interesting to me, so I'm sure other people will find it interesting as well. So I'm just going to keep going. So what was I going to say? Sorry. Oh, beginner. So if you have a friend that wants to learn how to wink foil, or you're taking out someone what are the, what are your tips? And what are some common mistakes people make and so on? So when I, every time I teach people first thing I do is put them on a reasonably sized foil, but put it all the way back in the box and further first few waves or for half of the first session or until they're comfortable have them take off and keep the board on the water, just have them keep the board on the water, ride, the wave like that don't even think about coming up. That'll get them. Wander their safety position and safely that's their safety safety move. They know how to keep it on the water. And the other thing that'll do is get them used to riding with a mask big mask at foil under their board. So once, once they're comfortable riding the board touched down on the water for the wave, then it's time to move the file forward a little bit and slowly start bringing it up on foil. It's nice to have a consistent way of the Harbor that, that, that is smooth water and decent power for a long time. And at least teach them a little bit beforehand. So they understand a little bit about how the field works, because that's another thing too, on the beach before they let them go in the wall. Yeah. Big time. Yeah. Yeah. Wing handling on the beach is huge. A big problem I see is people try and control the wind too much. Really what you want is your front arm is your anchor and your back arm does most of the control and just the weight of your back arm will keep the wing fine. So I, I teach people the way I learned cutting, which is sit on the beach and learn how to put and hold the wing in different positions. One, o'clock three, o'clock, two o'clock, one, o'clock 12 o'clock in the wind, the window. And and vary the power and just get comfortable and familiar with it before getting in the water. Because for a lot of people swinging they're getting on the foil board for the first time too. And it's a totally unfamiliar space where you're not comfortable with any part of it. And having some baseline understanding, and experience and building a tiny bit of muscle memory. We'll make a big improvement in their learning. It is said that he puts people on a, on the old wind surf board with the daggerboard in the middle, and then he just makes, and once they can go back and forth and stay up when then they're ready to go try the foil. And that's how he does it. And I've also heard people say that they put people on the board and just take the foil, the wings off the foil. So it's just the mask. So they can't busy, they can foil, but the mass has enough. It's like almost like a dagger board because it keeps you from drifting too much. So I thought that was a good idea. I've never tried it, but that's a good idea. Those are all good ideas taking the wings off the mask and make it a lot less stable though. So it would be interesting to make something that would bring that stability back almost like a keel for it. Just use it in Oakland. What if you took off the tail wing, but then would make it just I'll take off just the front link. Could work take off the front wing and the front wing. Yeah, that could work. Or maybe use a really small wing that doesn't, this is not going to lift. Cause I think even if you tell people don't lift off the water, once they start going fast and hard to control it, keep it from them. Yeah. That's the other thing I do teaching surf foiling is I never put them on a really big front wing. The first time I put them on like a front wing I would surf on. So that if they do lift, not like they can bring it back down and it's, they can control it. They can handle it, they can handle it. But I think for learning to wing foil is definitely an advantage of using a bigger wing because you end up having it's more stable and you can fly slower at lower speeds and you can take your time through transitions and stuff. So once you're comfortable going in and out yeah. If you're buying a new foil, don't get a big foil that lifts at low speeds basically. That's, is that what you would advise as well for beginners? Yeah, just get something easy to ride. My advice and a good board at the board table board, right? I think the new phonetic boards look nice. It was real simple bottom. The customs are always nice, but almost shapes for third grade. A lot of stuff out there works. Yeah. The equipment is definitely improving a lot. Like just the second and third generations of the wings are so much better than what we survive in the beginning, yeah. Another thing, a lot of people on the beach asked me about packing. A lot of people have trouble packing attacking you. Yeah. The biggest thing I noticed and actually Allen could, he's taught me, taught me how to attack is people switch the, switch, their hands on the wing way too late and that, so they'll go into attack and forget and don't switch their hands. And then they end up falling backwards or there's too much drag so an attack. If you come in with a decent amount of speed, you can actually switch your hand super early. And by switching your hands and bringing the wing over your head, it'll force the rest of your body and foil to follow and keep you in control the whole time. And that actually usually does the trick for people. So if anybody out there is having trouble typing, switch your hands super early. Yeah. That's a good tip. Usually works. And then talking to my dad because he learned to pack on his own. And he said, riding behind people who are going attacking and watching as they do it really helps. Yeah. I think what I've learned too is you want to throw the wing over your head. And with, I think with the backhand before you let it go, you kinda throw it so that it tips over, so that when it, when you grab it on the other side, it's already in the right position, you don't have to like, bring it over to the other side. Yeah. I, when I pack, I always give my backhand a little like push right. And let the momentum over the wing bank it over. So that way, when you grab it on the other side, it's already in the right position, you got power right away. You don't have to like, bring it back into the power position. Yeah. Totally. Those are good tips. Yeah. What about for the foiling part of the turn, I guess you want to keep the foil high, but not too. Like when I started attacking, I noticed I over foiled a lot. I would breech, I would go into like too fast, too high, and then I would focus on the wing and I would just breech cause I was going too fast. So I don't know. Yeah. I don't know. Just be comfortable with the foil and if you're comfortable breaching the tip. Of your waiting in thirds just a little bit, that'll help a lot because generally if you come into attack that the tip is going to come up a little bit I know just being comfortable and be comfortable with your drivers, be comfortable to be comfortable with your wing handling. And you should get it pretty fast. Yeah. Especially the front side tax, I find pretty easy, but the guy going backside is a little bit more tricky. Like when you have to throw it behind, grab it. Yeah. And then for the more advanced riders, if you want to get a better acceleration of your tax as you come through the wind and down use progressively more back foot pressure. If you come up, when you get back on the power, you want to be as high on the mask as possible, because then you can accelerate down the math and yeah. Your gravitational potential energy. That's a good pointer. I've noticed too. Like when I kick out of a wave and attack, kicking out, like once I get over the tip of the wave, I actually point

SPECIAL OFFER - Ends April 30th, 2021 Simone has assembled a special bundle, exclusively for our Kingdom Talks family. Learn more about the Prophetic Encounter Toolkit and pre-order your copy here ] https://kingdomtalksmedia.com/product/prophetic-encounter-toolkit/ ━━━━━━━━━━━━━━━ In this episode of the Kingdom Talks Show conversation between Simone Pentel and host Gil Hodges we hear how a young Jewish girl, Simone Pentel, suffered a life threatening experience, survived, and embarked upon a quest for spiritual truth and reality. You might say that no stone was left unturned, her deeply felt spiritual intuition taking her through the panoply of major faiths and into the world of alternative and psychic practices. Her first exposure to Jesus ranked him alongside Buddha or other great human teachers, and it was to be a matter of years before a chance visit to a Christian church with neighbors became the precursor to a subsequent visit which confirmed for her, beyond all doubt, that she had connected with God. Simone Pentel's heart now went out to those still espousing her previous persuasions. A history of personal engagement in the New Age and Alternative fields has given her the experience necessary to present, where opportunity arises, the God she loves without any proscription but in the terms with which an adherent to New Age practices would be comfortable and receptive. Show notes by Mick Tulk This show represents the opinions of the host and guests and may not necessarily reflect those of Kingdom Talks Media. ━━━━━━━━━━━━━━━ About Simone Pentel: As a Jewish person Christianity was simply not on the agenda until a powerful supernatural encounter with Jesus changed everything! Simone Pentel describes how since that time a passion to find ways to offer the community an encounter with Christ has been a constant driving force. Simone has created unique products and approaches that engage those who are seeking, connecting people with a Christ-centered spirituality. She has exhibited at high profile London alternative events for over 20 years. Simone runs a monthly online Meditation Encounter - inspired during lockdown - where people receive a touch from Above. Watch Simone Pentel's video testimony, "Met by the Miraculous" ] https://www.youtube.com/watch?v=MUvfBtR6_j8&t=13s Destiny Deck and Heart To Heart Deck https://www.h2hdecks.com Spirit Encounter YouTube Channel https://www.youtube.com/channel/UC9ouA6tX5gGIIwU0qnmUr2g Meditation Encounter Facebook Group https://www.facebook.com/groups/261995712007644 ━━━━━━━━━━━━━━━ Kingdom Talks Media exists to train and equip people around the world as the ekklesia (family doing Kingdom business). We believe you have a unique position in Father's family and a powerful purpose in the restoration of all things. ⭐ Get early access to full shows + exclusive bonus "Behind The Scenes" segments! Partner with us at https://bit.ly/ktmpartnerships ♛ Kingdom Talks Show Library https://kingdomtalksmedia.com/kt-shows/ ♛ Join our free KT Community https://bit.ly/ktmcommunity ♛ Signup for the KT Newsletter https://bit.ly/ktmnewsletter ♛ Ultimate Impact Course https://kingdomtalksmedia.com/online-courses/ ♛ Meditations & More https://kingdomtalksmedia.com/ ━━━━━━━━━━━━━━━ / #simonepentel #spiritencounter #meditationencounter #kingdomtalksmedia #kingdomtalks #nextage #ultimateimpact #sonship #ascension #heaven #mystic #sonship #restorationofallthings #gilhodges CATEGORIES: Love & Unity All Things Hebrew Creative Arts Next Age Ideas Restoration of All Things Health & Healing Frequencies & Sound --- Send in a voice message: https://anchor.fm/kingdomtalksmedia/message Support this podcast: https://anchor.fm/kingdomtalksmedia/support

In this episode of the Kingdom Talks Show conversation between Simone Pentel and host Gil Hodges we hear how a young Jewish girl, Simone Pentel, suffered a life threatening experience, survived, and embarked upon a quest for spiritual truth and reality. You might say that no stone was left unturned, her deeply felt spiritual intuition taking her through the panoply of major faiths and into the world of alternative and psychic practices. Her first exposure to Jesus ranked him alongside Buddha or other great human teachers, and it was to be a matter of years before a chance visit to a Christian church with neighbors became the precursor to a subsequent visit which confirmed for her, beyond all doubt, that she had connected with God. Simone Pentel's heart now went out to those still espousing her previous persuasions. A history of personal engagement in the New Age and Alternative fields has given her the experience necessary to present, where opportunity arises, the God she loves without any proscription but in the terms with which an adherent to New Age practices would be comfortable and receptive. Show notes by Mick Tulk This show represents the opinions of the host and guests and may not necessarily reflect those of Kingdom Talks Media. ━━━━━━━━━━━━━━━ About Simone Pentel: As a Jewish person Christianity was simply not on the agenda until a powerful supernatural encounter with Jesus changed everything! Simone Pentel describes how since that time a passion to find ways to offer the community an encounter with Christ has been a constant driving force. Simone has created unique products and approaches that engage those who are seeking, connecting people with a Christ-centered spirituality. She has exhibited at high profile London alternative events for over 20 years. Simone runs a monthly online Meditation Encounter - inspired during lockdown - where people receive a touch from Above. Watch Simone Pentel's video testimony, "Met by the Miraculous" > https://www.youtube.com/watch?v=MUvfBtR6_j8&t=13s Destiny Deck and Heart To Heart Deck https://www.h2hdecks.com Spirit Encounter YouTube Channel https://www.youtube.com/channel/UC9ouA6tX5gGIIwU0qnmUr2g Meditation Encounter Facebook Group https://www.facebook.com/groups/261995712007644 --- Send in a voice message: https://anchor.fm/kingdomtalksmedia/message Support this podcast: https://anchor.fm/kingdomtalksmedia/support

Noel Britten's award winning comedy (Winner: Hackney Empire New Act of the Year 1996 and Ha Bloody Ha New Act of the Year 1996), has earned him a solid reputation for comedy excellence on the circuit and beyond.From the outset Noel was described as "the country's finest emerging stand-up talent" (Comedy Review Magazine) and throughout his career in which he has notched up 7 years of solid experience he is considered "something of a hot property" (Venue Magazine) within the comedy world.As well as performing in the famous Comedy Store and Jongleurs his clients also extend to numerous corporate events including IBM, HP, Pentel, Pictet Swiss Bank Corporation and Hamptons where his quick witted observational comedy has entertained executives all around the world. He is regularly invited to perform in the USA, Australia, Hong Kong, Dubai and Canada at a variety of events including The Sydney International Festival in Australia, The Nova Scotia Comedy Festival in Canada, The Oerol Festival in Holland and of course The Edinburgh Festival in Scotland. Noel's work has also been featured on Channel 4 and BBC.In the West Country, he is well known for his Bizarre Bath comedy tours of his home City of Bath that have run nightly throughout the summer for the last 10 years. It has been recommended by all the major tourist books ("a great idea, superbly executed, and should be on every visitor's itinerary" Choice Travel Guide), TV Travel shows ("brilliantly unforgettable" BBC's Holiday Show), and has now reached the status of a "must do" for many visitors to Bath.Noel's quick witted dry humour defies all expectations. He executes his fast paced one liners with razor sharp precision firing his wit into the audience to create an atmosphere that can only be produced by a seasoned professional.Noel is currently President of the UK's Magic Circle. 

It's Happy Hour time at The Stationery Cafe! April from @penguinscreative and Kelly from @kellyloveletters talks about their favorite stationery things this week: something new, something old, and something in their shopping carts. This week, we talk about some fun Sailor products, another planner/diary for you to consider, Pentel pens, and a cool illustrator from Taiwan to follow! We also talk about stamps for organizing your ink collection, and a planner system that fits two spiral-bound notebooks instead of one!

In this episode I'm discussing the hot potato in the contact center industry - well any industry for that matter - Customer Experience - what do we measure and how do we measure it. 

My guest is an absolute authority in this field - Morris Pentel 

Morris is the Chairman of the Customer Experience Foundation, he is also a consultant in Business Transformation, all things Omnichannel and of course customer experience. 
Morris calls himself the Chief Student at London School of Customer Experience. He is simply THE authority in the field. 

Morris Pentel LinkedIn Profile: https://www.linkedin.com/in/morrispentel/ Customer Experience Foundation: https://www.cxfo.org/London School of Customer Experience: https://www.cxfo.org/xic2020 My Podcast is produced by: https://www.unavoided.com

Epres Attila színművész 2015 nyarán furcsa duzzanatot vett észre a nyakán. Először nem foglalkozott vele, aztán elment orvoshoz, de minden lelete negatív lett. A duzzanat csak nem múlt el, így barátai és kollégái unszolására újra az orvosnál kötött ki, aki rákos megbetegedést diagnosztizált és elmondta milyen forgatókönyvek szerint alakulhat Attila jövője. A színész több alkalommal is eljátszott a halál gondolatával. Aprólékosan végiggondolta mit tehet, ha vesztésre áll az egészségéért vívott harcban; hogyan rendelkezhet élete befejezéséről önmaga? Végül arra jutott, hogy nem ezek a fontos kérdések. Úgy döntött élni szeretne, és meg fog gyógyulni. Ennek mikéntjét akkor még nem tudta, ma már igen. Idén lesz öt éve, hogy tünetmentes, így hamarosan hivatalosan is gyógyultnak számít majd.A rákot persze nem mindenkinek sikerül leküzdenie, de az mindenkinek megnyugvást és reményt adhat, hogy ebből a félelmetes és mély gödréből is létezhet felfelé vezető út. AlkotókMűsorvezető: Lovas RoziSzerkesztő: Puss Máté Bence Felvételvezető: Dósa Márton Produkciós vezető: Pentelényi-Kovács Tímea Zenei- és utómunka szerkesztő: Szűts DánielKreatív producer: Román BalázsProducer: Hampuk Richárd 

When you start out in your advertising career, Pentel in one hand, Macbook in  the other, you seem to be surrounded by good work. Awards books are choc-a-bloc with it. As you go on, year by year, you seem to see less and less. For example, the first D&AD Annual looked at probably had an 80/20 ratio of good to bad. 10 years later those percentages are likely to have flipped. As you move on you become less swayed by awards, famous names or cool agencies, you now have 10 years of data to compare any new idea to - Is it as fresh as A? As funny as B or, actually, isn’t it just a reworking of C? It’s hard not to. You’re no longer that naïve, impressionable young thing you once were. In the music business they believe that our musical taste can be tracked back to our 16th summer; that's when we were most impressionable and hungry for experiences. As you get older it gets harder to find that tingle of excitement you feel when you experience things for the first time. In advertising, not being easily excited can be seen as being jaded. In fashion, architecture and many other creative they have different name for it; knowledge. I say this for two reasons; a) I’ve seen A LOT of stuff. b) David's stuff always causes a tingle, (not a minty-fresh, mouth tingle, but a work-fresh, excitement tingle). Somehow, he manages to produce work that feels like it's avoided committees, cliches and compromises. Whereas most work can be quickly categorised as good or bad, with David’s I often have to think about first. The Orange spot with the couple dancing; Is that good? The Guardian ‘3 Little Piggies’; Is that good? The Coal Drops Yard Branding with the seemingly random bunch of shapes, pictures and colours; Is that good? None are what you’d expect. Each take balls to go with. All are hard to ignore or forget. Much of the work he’s created and overseen at Drog5 London feels as though the team enjoyed thinking it up, then just couldn’t wait to make it and show the world. Good work tends to have that vibe. Unfortunately, we recorded this a while back, and David being David, he came up with a cunning way to make this podcast not only unusual, but complicated to make. Eventually, for reasons that would take too long to go into, it's coming out in a non-unusual, uncomplicated, familiar format. (Soz David.) It means that we don’t cover the great work Droga5 have been knocking out over the last year or so, like their exceptionally tingley Super Bowl ad for Amazon. Enjoy.

Ebben az epizódban Bajzáth Sándor történetét mutatjuk be. Azt, hogyan lehet kimászni a legsötétebb veremből, hogyan lehet kikecmeregni a teljes fizikai és lelki leépültség állapotából. Az igazi nagy kérdés azonban nemcsak az, hogyan lehet leállni egy ennyire súlyos drogos életről, hanem hogyan lehet a józan világban boldogulni, hogyan lehet tisztának maradni, a semmiből egzisztenciát teremteni, és újra érvényes emberi kapcsolatokat kialakítani? Ez a történet egy olyan emberről szól, aki több mint 17 éve él kábítószer- és alkoholmentesen. Aki nemcsak saját függőségeivel számolt le, de mára másoknak is utat mutat. Addiktológiai konzultánsként évek óta függők százainak segít abban, hogy újra önmagukra találjanak.Az Egyszer Lent podcastet azért indítottuk el, hogy megmutassuk, minden veremből van kiút. Amikor a legalján vagyunk, lehet hogy nem látszik, de tehetünk azért, hogy megtaláljuk. Műsorvezető: Lovas RoziSzerkesztő: Vigh-Fekete Zsuzsa Felvételvezető: Dósa Márton Produkciós vezető: Pentelényi-Kovács Tímea Zenei- és utómunka szerkesztő: Szűts DánielKreatív producer: Román Balázs Producer: Hampuk Richárd

Hogyan lehet felérni együtt bármilyen hegycsúcsra, és hogyan lehet lejönni a hegyről? Miként lehet feldolgozni azt, ha úgy veszítjük el férjünket, szerelmünket, hogy el sem tudunk búcsúzni tőle? Hogyan lehet egy összetört élet darabjaiból újat építeni? Az Egyszer lent első epizódja Erőss Zsolt özvegyéről szól, akinek több évbe telt, mire megértette, feldolgozta férje halálát mostanra pedig a Hópárduc Alapítvány vezetőjeként gyerekek százainak segít abban, hogy olyan önazonosak legyenek, mint Zsolt, aki féllábbal is a világ legmagasabb csúcsait ostromolta.Az Egyszer Lent podcastet azért indítottuk el, hogy megmutassuk, minden veremből van kiút. Amikor a legalján vagyunk, lehet hogy nem látszik, de tehetünk azért, hogy megtaláljuk. LINKEK:Hópárduc AlapítványHimalája Expedíció STÁBMűsorvezető: Lovas RoziSzerkesztő: Vigh-Fekete Zsuzsa Felvételvezető: Dósa Márton Produkciós vezető: Pentelényi-Kovács Tímea Zenei- és utómunka szerkesztő: Szűts DánielKreatív producer: Román Balázs Producer: Hampuk Richárd

Today's interview is with Morris Pentel, who is the Chairman & Founder of the Customer Experience Foundation, a leading organisation in Customer Experience Science. Morris joins me today to talk about Customer Experience Science, Behaviour As Technology and his view on the biggest and current challenges for organisations trying to design and deliver a great customer experience for their customers.

Leadership Development Coach and Consultant Bekka Prideaux meetsJon Pentel of Pen Telecom to talk about upcoming changes to TelecommunicationsErrol Thomas of Leighton Buzzard Better Speakers about how they help people overcome their fear of public speakingand Francis Thomas, Head of Corporate Affairs for London Northwestern Railways about the problems the May timetable changes have caused and what they are doing to get everything back on trackBekka also reviews the governments Get Ready For Brexit WebsiteOther websites we mention areChartered Institute of Logistics and Transport Brexit HubFederation of Small BusinessChartered Institute of Personnel and DevelopmentGrants for businesses that complete customs declarationsThis episode was first broadcast on Leighton Buzz Radio on 29 October 2019

In this ultimate list, I rank the best everyday pens from top to bottom. Is your favorite pen really the best, or is there something better? Let's find out! Full show notes at https://easiercast.com/pensSupport the show (https://easiercast.com)

March 30  Ken Pentel with http://ecologydemocracynetwork.org and Patrick Kerrigan Organic Consumers Association

Popular music provides the ultimate gauge of contemporary attitudes about culture, politics and society at large. It's the language we use to subconsciously discuss and deliberate the issues of the day. Whether it's about the rise and fall of disco, the role of boy bands or contagion of K-Pop, there is no greater measure of social sentiment than popular music. It creates an understanding of a society's collective attitude. And with that, one could say that the music industry has the answers to some pretty compelling cultural questions. This episode was recorded live at the NEXT Conference 2018

Popular music provides the ultimate gauge of contemporary attitudes about culture, politics and society at large. It’s the language we use to subconsciously discuss and deliberate the issues of the day. Whether it’s about the rise and fall of disco, the role of boy bands or contagion of K-Pop, there is no greater measure of social sentiment than popular music. It creates an understanding of a society’s collective attitude. And with that, one could say that the music industry has the answers to some pretty compelling cultural questions. This episode was recorded live at the NEXT Conference 2018

Episode Sixty Three Show Notes CW = Chris WolakEF = Emily FinePurchase Book Cougars Swag on Zazzle! AND at Bookclub Bookstore & More. If you’d like to help financially support the Book Cougars, please consider becoming a Patreon member. You can DONATE HERE. If you would prefer to donate directly to us, please email bookcougars@gmail.com for instructions. Join our Goodreads Group! Please subscribe to our email newsletter here. – Readalong #9 –Hum If You Don’t Know the Words – Bianca MaraisHave comments to us by December 6, 2018 // Goodreads discussion page is HERE – Currently Reading –Eat, Pray, Love – Elizabeth Gilbert (CW)Kitchen – Banana Yoshimoto (EF)Starting From Scratch – Rita Mae Brown (CW)Florida – Lauren Groff (EF)The Craft of Research – Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, Joseph Bizup, William T. Fitzgerald (CW)Poetry Will Save Your Life – Jill Bialosky (EF)  – Just Read –Mr. Flood’s Last Resort (or The Hoarder) – Jess Kidd (EF)Ohio – Stephen Markley (EF) – Biblio Adventures –Emily went to Book Trader in New Haven, CT and That Bookstore in Wethersfield, CT. Chris went on a big adventure to Los Angeles, CA that included stops at:Universal Studios The Wizarding World of Harry PotterThe LA Public LibraryThe Last BookstoreBook Soup – Upcoming Jaunts –November 14, 2018 Chris would like to visit BookClub Bookstore & More to see Kristin Tsetsi in conversation with Benjamin Thomas. Her book is The Age of the Child.November 15, 2018 Chris and Emily will go on a joint jaunt to Bank Square Books in Mystic, CT to see Jean P. Moore (Tilda’s Promise) in conversation with Cheryl Suchors (48 Peaks). November 29, 2018 at Guilford Library, Emily will go see Andre Dubus III discuss his new novel Gone So Long. – Readalong #9 –Born A Crime: Stories From a South African Childhood – Trevor NoahGoodreads discussion page is HERE – Holiday Gift Ideas –·     Owl Eyeglasses Holder from Uncommon Goods·     Alibabette Editions journals·     Utilizing VistaPrint, Zazzle or Shutterfly, make a calendar out of favorite book covers and author photos·     Unearth Women Magazine – The 1st Feminist Travel Magazine·     Buy someone an E-Reader! ·     Nice set of markers – Emily has this set from Pentel·     Mastering the Art of Self-Expression a creative journaling workbook by Laura Thoma·     Shuly Cawood has a new inspirational gift book: 52 Things I wish I could have Told Myself when I was 17·     Purchase a complete set of a favorite authors books·     Purchase a book for someone that is in a foreign language·     Literary Candles·     Book Cougars Swag on Zazzle – Also Mentioned –                 Also by Lauren Groff: Arcadia and Fates & Furies Alison Law – Literary AtlantaAlso by Stephen Markley: Publish This Book: The Unbelievable True Story of How I Wrote, Sold and Published This Very Book and Tales of Iceland The Library Book – Susan OrleanAlso by Andre Dubus III: Townie, and House of Sand and Fog, and Dirty LoveCarnegie’s Maid – Melodie BenjaminScribe of Siena – Melodie WinawerRussell – Ink and Paper BlogKinokuniya BookstoreThe Going and Goodbye: A Memoir – Shuly Xochitl CawoodLouise Penny

Morris Pentel is Chairman of the CX Foundation, a private global foundation focused on best practice in CX. He talks on this episode about how to redesign Voice Of the Customer (VOC) projects to better capture customer emotions. Morris is based in London. https://www.linkedin.com/in/morrispentel/ https://www.cxfo.org/  

Our Current Projects: Lee: is working on some fun little promos for his agent, and he is getting feedback and having different studios look at one of his books. Will: Just submitted the second round of sketches for Bonaparte Falls Apart. Jake: Super busy with Inktober and it now has several sponsors, which takes a lot of administrative work, looking over contracts, and providing content for them. Also, shipped Skyheart, went to New York and talked with editors about working on future projects, and built friendships and connections. Reminder Svslearn.com, is an online illustration school, and a sponsor of Inktober! There are inking classes, and right now we have a Free 7 Day Trial going one, If you are interested please click here. Be sure to check it out! Drawing Challenges Have you guys ever done an art challenge? Will created the Draw 50 Things Challenge, it’s a design challenge where you try and create an illustration that has at least 50 different recognizable objects in it. Lee once did a 14 week long art challenge, painting a digital landscape painting everyday, 7 days a week. Which is a TON of painting! Drawing challenge: you do something daily or you have a project you try to finish in a certain amount of time. Take something you want to get better at and do it every day, for 30, 50 days. Jake created Inktober, which is where you create an ink drawing ever single day during October. How to participate in Inktober. He also created the Draw 100 Somethings challenge, which is where you draw something and then draw 99 more different somethings, all within narrow constraints, i.e. 100 different dragons, 100 different pirate animals, the key is to not be too broad, the constraints will push your creative muscles! Why You Should Do an Art Challenge There are 3 main reasons: Improve your life, and become more creative. Improve your habits and develop your craft. Get attention and exposure. It is so important that you do it everyday, at first it’s really awkward and it takes time to get in the rhythm, but eventually it becomes second nature. When you first try something it’s harder and then when you do it again it gets easier. Repetitive attempts drill it into you. You will become a better and more creative artist by the end of the challenge if you really do it justice. While in college, Will got let into the illustration program on probation. He had to prove himself during the next semester to stay. He kept asking professors what he needed to work on and ultimately it was design. That’s why he made the Draw 50 Things Challenge, to help push people to sharpen their design and creativity skills. Lee created the art challenge of Slowvember. You create something every day for Inktober and it is really fast paced, maybe you have then during Slowvember you slow down and spend time every day working to create and polish one amazing piece. Lee is an advocate for slowing down and doing things right. So many people can get paintings to 70 or 80 percent of where they need to be but it’s that last 20 percent that really pushes the painting to the next level and its that last 20 percent that takes the longest. Slowvember gives you the opportunity to push something to 100 percent! Challenging Yourself in Different Ways Inktober: you should have a vision for it. Think of how you can do it, have a goal. Don’t do Inktober just do do it, but make it specific and have a goal. Be deliberate. Don’t just swing at 10,000 golf balls, but have a specific target or goal you are trying to create, then swing for that. That deliberateness will help you learn and improve so much faster! Maybe you want to do quick 30 minute sketches for Inktober with a goal to get faster at doing quick sketches, then that’s great! Just make sure you have a focused goal and you will get even more out of it. For the vast majority of people who participate in Inktober its hobbyists, people who love creating but aren’t doing it professionally for their career. They come from all walks of life, from middle school to adults that all like drawing and being creative. Proportionally there aren’t as many professionals. If you fall into that category then for you it doesn’t have to be good it just has to exist. You’re building a habit of drawing and you’re trying to build the creative mindset. It gets you thinking. After 7 days you start to run out of ideas, and you have to push yourself creatively. There is value in just doing it, even if it’s not amazing...yet! Are You Allowed to Do It Digitally? Do you think that the guy with the turkey feather guy got mad when the guy with the metal nib pen came and drew next to him? Will, Art is art, the tools don’t matter. It’s about what you make and how you make the viewer feel. The problem with digital is when you don’t understand the traditional medium and the look that you are going for. When you know how to do it traditionally, then you can recreate that feeling and look, digitally. Lee’s Challenge to Digital: Do half digital, and half traditional. That way you will get pushed and those two halves will begin to complement one another. Jake was blindsided last year by Inktober contention over digital vs. traditional. Jake lives in this world of traditional and digital and going back and forth between both. He sees digital as valuable and the best thing that has happened to art; and that tradition is valuable and the best thing that has happened to art, there wouldn’t be any digital without it. Inktober was created to focus on linework, don’t have to worry about color, but just keep it nice and simple. You can still do that challenge with a stylus, you can still make it simple and beautiful digitally. There are certain lines you can’t do digitally that are easier to do traditionally, learning to create those lines digitally is a skill in and of itself. There is value in doing the Inktober challenge digitally. It’s a different skill. However, there still are things to learn from stepping away from digital and doing traditional. Jake did a post encouraging digital artists to do traditional, that offended some people. People took it as him saying that they wouldn’t be getting the full experience. However, there is value to both digital and traditional, they both have their virtues. Jake didn’t mean to invalidate people. Jake took Inktober on as a personal challenge. Lately Jake has tried to ink digitally more with the iPad and Cintiq, and saw how there is something special to digital, both traditional and digital are so useful. Still should be simple with just line work and maybe a splash of color and don’t create full color paintings. If you normally work digitally, try it traditionally! Inktober, all about doing it daily and improving as an artist. Be Creative Will, don’t worry about what others say Inktober has to be. You can try to be different. There are not Inktober police. When people are saying you’re doing something wrong then you are on to something. After Picasso got others to start doing cubism, a cubism group quickly emerged and they kicked him out, however now he is the only one that is well recognized. You don’t want to be an “if only” artist. You don’t want to be an artist who can draw “if only” they have the right gear with them. You want to be able to draw with anything around and draw and paint with them. You don’t need all this stuff. Inktober for writers, there was a writer who writes a little story to go with each daily prompt, and there is a group of writers that have gotten together to share their Inktober stories. That’s great! Well if Inktober means that you can just do anything, then it doesn’t mean anything. There is a reason for it, but you can be creative and do what you need to do. Contests Zebra, Adobe, Pentel, Blick, and Kingart are all doing Inktober contests. There are contests. It could be that they are looking for traditional instead of digital or a dash of color. If you are going to enter contests, be careful that they don’t own your work. Pentel did a contest, they said that they own your artwork. They said that you could use it for anything they want to use it for. People were upset with it. Their lawyer looked at it and Inktober’s lawyer looked at it, and it has specific wording to be able to use that work to post it and share it on their channels, not to use to advertise on their products. They went in and adjusted some wording. Really be aware of what the contest rules are, just be aware. If the contest is worth it, then maybe do artwork specifically for the contest for exposure. Instagram, Facebook, Twitter has similar wording to these contests. There are some risks and things that you just have to deal with, that’s just apart of being an online artist. The Power of Inktober Jake never would have imagined that Inktober would have turned into what it is today. He started the challenge to have: Constraints, Accountability, he tries to be a person who does what he says he’s going to do. Wanted a way to get more exposure as an artist, and a reason for people to come to his art blog. Inktober is still all about getting better at art, and getting people to want to come look at your work. Inktober has changed a lot of people's lives, got them in the habit of drawing, and boosted their followers. Inktober is like New Years, it’s a time when people say, “I’m gonna do it, I’m gonna make it happen.” It’s a line in the sand. Happy drawing! Thank so much for listening! LINKS Svslearn.com Jake Parker: mrjakeparker.com Instagram: @jakeparker, Youtube: JakeParker44 Will Terry: willterry.com. Instagram: @willterryart, Youtube: WillTerryArt Lee White: leewhiteillustration.comInstagram: @leewhiteillo Tanner Garlick: tannergarlickart.com. Instagram: @tannergarlick If you like this episode, please share it, subscribe, and we’d love it if you left a review! These podcasts live and die on reviews. If you want to join in on this discussion log onto forum.svslearn.com, there is a forum for this episode you can comment on.

Mike is joined by Magalie LeGall from Versailles, France. Magalie is an academic librarian at Universite Paris Descartes, an avid sketchnoter, and an all-around fun person. Together they discuss the importance of making mistakes in our sketchnotes. RUNNING ORDER Intro Magalie's sketchnote origin story Application of sketchnoting in her professional life Discovering the sketchnote community How Sketchnoting fits into Magalie's life Why starting sketchnoting was easier than now Why mistakes are great The problem with sketchnoting on the iPad) What to do when you run out of space for your sketchnote Pushing your boundaries Compare only to yourself, draw inspiration from others Importance of small, daily improvements (kaizen) Tools Tips Mike's Beetle LINKS Magalie Le Gall's blog - https://sacamainetsacados.wordpress.com Magalie Le Gall twitter - https://twitter.com/magalielegall Flow - https://en.wikipedia.org/wiki/Flow_(psychology) Philippe Boukobza twitter - https://twitter.com/philip_boukobza Visual Mapping website - http://www.visual-mapping.es Marc Bourguignon twitter - https://twitter.com/100978Marc Isabel Pailleau - https://twitter.com/isapailleau Celine Pernot-Burlet twitter - https://twitter.com/cibi1974 Sketchnote Hangout - https://sketchnotehangout.com/ Wabi Sabi - https://en.wikipedia.org/wiki/Wabi-sabi Eva-Lotta Lamm - https://twitter.com/evalottchen Julia Cameron: The Artist's Way - https://www.amazon.com/Artists-Way-25th-Anniversary/dp/0143129252/therohdesignwebs Kaizen - https://en.wikipedia.org/wiki/Kaizen Quentin Blake - https://www.quentinblake.com/ Dr. Makayla Lewis - https://twitter.com/maccymacx TOOLS iPad - https://www.apple.com/ipad/ Leuchttrum - https://www.leuchtturm1917.us/notebooks/ Moleskine - https://us.moleskine.com/ Kraft Paper - https://en.wikipedia.org/wiki/Kraft_paper Pigma Micron pens - https://www.pigmamicron.com/ Pentel touch brush - https://www.jetpens.com/Pentel-Fude-Touch-Brush-Sign-Pen-Black/pd/9199 TomBow Pens - https://www.tombowusa.com/ Neuland - https://us.neuland.com/ Uni Kuru Togu mechanical pencil - https://www.jetpens.com/Uni-Kuru-Toga-Roulette-Mechanical-Pencils/ct/1129 Taysui Sketches - https://itunes.apple.com/us/app/id641900855 MAGALIE'S 3 TIPS Emphasis in your sketches - Like Quentin Blake Be honest and funny - humor helps! Shading is a great way to deal with mistakes CREDITS Producer: Jon Schiedermayer Show Notes: Chris Wilson SUPPORT THE PODCAST Buy one of Mike Rohde's books and use code ROHDE40 at Peachpit.com for 40% off - http://rohdesign.com/books PAST PODCAST SEASON LINKS Season 1 - https://soundcloud.com/sketchnote-army-podcast/sets/sketchnote-army-podcast-se1 Season 2 - https://soundcloud.com/sketchnote-army-podcast/sets/sketchnote-army-podcast-se2 Season 3 - https://soundcloud.com/sketchnote-army-podcast/sets/sketchnote-army-podcast-se3 Season 4 - https://soundcloud.com/sketchnote-army-podcast/sets/sketchnote-army-podcast-se4

Today we review the stunning 'Pentel EnerGel Liquid Ink 0.5mm Ballpoint Pen' TJ and Brandon sit and discuss the tremendous amount of pros and few cons that exist within this beautifully crafted, rightfully priced, 0.5mm ballpoint pen. Show Notes: -TJ explains how he is filling in for Hoff and introduces his guest, Brandon Burchard. Also mentions that we will be reviewing the 'Pentel EnerGel Liquid Ink 0.5mm Ballpoint Pen' -TJ gives his initial review of the pen -Brandon mentions that he really enjoys the beautiful crystal blue color of the Pentel pen -Are you a 0.5mm person, or do you prefer a 0.7mm point in your quiver? -The pen fits extremely well, based on weight to size ratio when carrying in the front pocket of your Dockers -Brandon and TJ discuss the extraordinary action of the EnerGel Liquid Ink pen -The pros and cons are discussed between the two hosts of the podcast -The hosts dive deep into the history of Pentel and why they made the decisions they made -Please reach out to us and tell us how much you enjoy our show. You can reach TJ at weluvpens@hotmail.com and Brandon at penman_56@yahoo.com -Brandon discusses how he is going to allow TJ to break down the wonderful pen and get into the inner mechanics of the 0.5mm ballpoint pen -What color is it? Why? -The two hosts close the podcast out and explain in great detail how they wish great success for the podcast to continue Be sure and look at the things we are doing online. Type penmanspodcast.me/v/episodevi into your internet browser, then click enter! Thank you so much for listening! Don’t forget to “Like” and Subscribe!

Listen to win the Fantastic Back To School items I am going to talk about tonight and visit the websites listed belw to see the awesome items for Back to School 2010. ************* New for 2010, the Keurig B31 Mini Plus is just the right size for college dorm rooms or small counter spaces of a first apartment. The system uses an innovative single-cup technology that ensures a fresh-brewed, perfect cup of coffee or tea every time. With 200 varieties of K-Cup flavors, you are sure to find the perfect coffee, iced coffee, tea or hot cocoa for even the most discerning coffee drinker. To learn more about the Keurig B31 Mini Plus visit www.keurig.com. Available for $99.95 at Bed Bath & Beyond and Bloomingdale’s. *********** The Freetalk Wireless Headset is ideal for students going back to school. Students can voice or video chat with other Skype members for free. Students can hold group study sessions via Group Video Chat, with up to 5 people, and not be completely tied to the computer. Group Video Chat from Skype is free while it is in Beta. Listeners can purchase the Freetalk Wireless Headset from the Skype Shop for $79.99 and ships internationally. The link is: http://shop.skype.com/headsets/wireless/iss-talk-5192-freetalk/ ************* System Mechanic® and it is an award-winning PC tune-up suite designed to fix, speed up and maintain PCs so they run like new forever. It has more than 40 tools to keep the PC running in optimal condition. where it can be purchased - System Mechanic can be purchased directly from website at www.iolo.com. Or at retail stores like Wal-Mart, Best Buy, Target, Staples, Office Max, Costco, Frys and Office Depot. It can also be purchased on online retail sites like Amazon and Buy.com www.iolo.com ************* “Shake things Up” with the New Jolt Mechanical Pencil from Pentel of America. This updated version of the geeky mechanical pencil, works in a new way. Two quick shakes of the pencil advance the lead in Pentel’s brand new Jolt mechanical pencils. With four young colors to appeal to students, this innovative new product will be shaking students through the three Rs in a fun way. MSRP: $2.75. Note: Pentel Lead is guaranteed to scan on tests and documents. Website: www.pentel.com ************* Travelpro has just announced its new line of Ecko Unltd.® Backpacks and Duffel Bags for the back-to-school season. A variety of designs are available to fit the unique style and character of each student. Please visit Travelpro at www.travelpro.com for a complete list of the latest products and retail locations. You can also follow us on Facebook at www.facebook.com/TravelproINTL and Twitter at www.twitter.com/travelprointl *************

Listen to win the Fantastic Back To School items I am going to talk about tonight and visit the websites listed belw to see the awesome items for Back to School 2010. ************* New for 2010, the Keurig B31 Mini Plus is just the right size for college dorm rooms or small counter spaces of a first apartment. The system uses an innovative single-cup technology that ensures a fresh-brewed, perfect cup of coffee or tea every time. With 200 varieties of K-Cup flavors, you are sure to find the perfect coffee, iced coffee, tea or hot cocoa for even the most discerning coffee drinker. To learn more about the Keurig B31 Mini Plus visit www.keurig.com. Available for $99.95 at Bed Bath & Beyond and Bloomingdale’s. *********** The Freetalk Wireless Headset is ideal for students going back to school. Students can voice or video chat with other Skype members for free. Students can hold group study sessions via Group Video Chat, with up to 5 people, and not be completely tied to the computer. Group Video Chat from Skype is free while it is in Beta. Listeners can purchase the Freetalk Wireless Headset from the Skype Shop for $79.99 and ships internationally. The link is: http://shop.skype.com/headsets/wireless/iss-talk-5192-freetalk/ ************* System Mechanic® and it is an award-winning PC tune-up suite designed to fix, speed up and maintain PCs so they run like new forever. It has more than 40 tools to keep the PC running in optimal condition. where it can be purchased - System Mechanic can be purchased directly from website at www.iolo.com. Or at retail stores like Wal-Mart, Best Buy, Target, Staples, Office Max, Costco, Frys and Office Depot. It can also be purchased on online retail sites like Amazon and Buy.com www.iolo.com ************* “Shake things Up” with the New Jolt Mechanical Pencil from Pentel of America. This updated version of the geeky mechanical pencil, works in a new way. Two quick shakes of the pencil advance the lead in Pentel’s brand new Jolt mechanical pencils. With four young colors to appeal to students, this innovative new product will be shaking students through the three Rs in a fun way. MSRP: $2.75. Note: Pentel Lead is guaranteed to scan on tests and documents. Website: www.pentel.com ************* Travelpro has just announced its new line of Ecko Unltd.® Backpacks and Duffel Bags for the back-to-school season. A variety of designs are available to fit the unique style and character of each student. Please visit Travelpro at www.travelpro.com for a complete list of the latest products and retail locations. You can also follow us on Facebook at www.facebook.com/TravelproINTL and Twitter at www.twitter.com/travelprointl *************