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Does a Graphic Designer Need Drawing Skills? - Duration: 13:28.
Today we have computers, printers, tablets, digital cameras, typefaces, digital art brushes
and creative software tools which help bring our imagination and design to life.
Technology has and will continue to change the way we create.
Enabling us to experiment and explore an endless dynamic of visual effects
and methods to create and communicate more complex concepts, messages
and achieve more sophistication in our design.
Today it is common for a designer to create work predominantly on computer creating:
logos, branding, magazine layouts, infographics, 3D models, web design,
social media and motion graphics to name a few.
For the next generation of designers and even existing designers, today it may be natural
to wonder about the usefulness and importance of traditional techniques.
This video question comes from Diaa Hassan and he asks:
Does the Graphic Designer need drawing skills?
So as designers it will help us to think of drawing a serving two functions:
One to carefully construct and complete a piece of artwork.
If you want to draw hand lettering, graphic novels, cartoons
character designs, portraiture and more illustration and art related work
you would require a good level of drawing and rendering skill.
So for function one let's call this: Drawing to Render Art.
The next function: To think about a design idea and communicate it visually.
If you're conceptualising design ideas perhaps for logo designs, magazine layouts
storyboards, web layouts or advertisement posters you will require a
certain degree of skill in sketching and if you are presenting design direction
for other creatives to follow, you will require skill in scamping also referred to as drafting.
So for function two let's call this: Drawing to Design.
So two functions there: Drawing to Render Art and Drawing to Design.
As a designer it will help to think about drawing in that regard
because as a designer you should only really be concerned with drawing to design.
What's the difference you may be wondering? Well we will be covering that shortly
In my experience a designer should have good skill in drawing to design
but not necessarily a good skill at drawing to render art.
In the design industry today most designers will not be required to create
finished pieces of artwork through drawing.
But will always be required to come up with creative ideas and concepts for design
and will often express them through sketches and scamps.
Now in a professional environment like a design agency
any design work with heavy illustrative execution would normally be tasked to an illustrator
who specialises in drawing to render art.
If you're learning to become a designer I would say focus on drawing to design.
If you can bring your thoughts and ideas from your mind and project them onto paper
you can practice design. To sketch and think visually is the essence of design.
This is one of the most important and creative parts of the design process.
In my experience sparks happen on the page!
During the sketching process: Ideas are invented, ideas ideas are crafted, discovered
and start to shape a direction concept or possible design solution.
You should only use the computer when you have an idea on the page.
So the first type of drawing a designer should be well practice at is sketching.
To be able to sketch will be able to communicate your ideas visually.
Sketching is a great method to render your imagination fast and bring your initial ideas
out of your mind to rule out anything you feel may or may not work
and to progress and evolve ideas. So let's take a look at some examples.
To follow along and take a closer look at the examples I'm about to show.
I suggest you download the design to draw PDF I have created for this video.
Link is in the description. So with the PDF open first we have some rough sketches
for some page layout ideas for a brochure looking at possible image and typesetting compositions.
Next we have some sketches for a logo type design exploring various routes and ideas.
Next we have another example for a logo mark design based on the DNA structure
looking at how it may move grow and
change to create multiple logo permutations to create a logo system.
Next another logo type design example exploring various routes and ideas
and again design sketches for a logo mark exploring a variation of what appear to be map tag shapes.
Lastly we have sketches for a leaflet plan
here we are looking at how the design will unfold with possible layout options.
So what we see in each example are rough ideas.
Here a designer will be thinking fast and trying to discover an experiment
with possible design solutions before working up and developing ideas on the computer.
Each example may be rough but here you can clearly see what the designer is thinking.
This is really the level at which you will be required to sketch.
To see some more examples of design sketches simply type:
'Graphic Design Sketches' and 'Logo Design Sketches' into google images.
There you can see lots more examples to get a better understanding on sketching for design.
To see more examples you can also find some links in the description
So how do you get good at sketching?
Well if you don't feel confident sketching I would encourage you to practice and harness your technique.
If you can nurture your skill in sketching it's really going to help with your design process.
Get a sketch pad or layout pad take it everywhere you go
and sketch your thoughts and design ideas.
Practice drawing shapes, grids, layouts and typography.
Soon you will be proficient in general shape and form sketching.
which will help you sketch your rough designs.
Sketching is something you could be practicing all the time.
I have been practicing graphic design now for over 10 years and I sketch as much as I can.
To sketch and develop my ideas I typically use a graphic pencil,
range of markers, thin, medium and thick, tipex and a range of coloured markers.
Now depending on what type of ideas I'm sketching, be it for layout, logos or patterns.
I will use either a clear white graphic layout pad or a grid pad.
This simple equipment works really well to me.
It is relatively cheap and easy to replace. Once I feel an idea is working on paper
as a possible design solution only then will I take it onto the computer.
If you are interested to learn more about the equipment I use
you can find a list in the PDF with links to find out more online.
Now there are many benefits why you should sketch your ideas before taking them on to the computer.
Drawing to render a finished idea or created on computer may take hours
whereas a quick sketch can take you minutes.
When working in teams sketches can become the discussion point
when you have something visual and tangible in front of you
it makes it easier to talk about that idea with others
such as clients, senior designers or creative directors.
To quote Paul Arden: Rough layouts sell the idea better than polished ones.
Every time I'm at a meeting I always sketch initial rough thoughts out and show clients or other designers.
This helps engage them and see their reactions and get feedback.
Many times through this collaborative process creative solutions have been discovered.
As a designer myself that predominately works on computer I find sketching the
most organic and fluid part of my thinking.
When I designed for anything before I jump onto the computer I usually start on paper thinking visually
sketching up my ideas and exploring how they may or may not work.
Ideas seem to flow much better sketching on paper than trying to build them from scratch on a computer.
So the next type of drawing a designer should be well practice that is scamping.
In the design industry scamping has quite a practical role.
If I want to present initial design ideas at a meeting in a more clear fashion
I will create what is called a scamp drawing also referred to as a draft.
Scamps are used in the industry to communicate specific design direction.
A scamp can be a simple doodle or a more developed crafted drawing.
Because these drawings are used to give clear design direction they are typically more
refined than the rough sketches. These are often clear line drawings and can
include color with markers. Depending on how much you want to communicate and to what detail
you can draw your scamps accordingly. These are also used to brief
and give visual reference to other creative professionals such as web developers,
3D modellers, Illustrators, photographers, animators or art workers.
So let's take a look at some examples. With the PDF open first we have a scamp
suggesting the orientation and structure of a leaflet.
Here we can see the direction for photography and composition.
Next is another leaflet example
and on the next page a closer look at the previous open spread.
Here we can see more clear direction for layouts of type and image.
Next is another scamp example suggesting the layout of a leaflet cover and page layouts.
Next is a scamp giving direction for a photo composition for an advert
and to the right is the photo result taken from the scamp design.
Next is a scamp for a poster design suggesting product and design composition and type layout.
Next is a storyboard scamp for a short advert and next is another scamp
example for a leaflet layout design which continues on to the next page.
Finally we have a series of scamps suggesting design directions for a business card
a letterhead and brochure page layouts.
So here we have a range of scamps showcasing different styles, techniques and approaches
What they will all do is express clear specific design direction.
Compared to the rough sketches we can see more detail to communicate more direction here.
To see more examples of scamps simply type design scamps and
advertising scamps into google images. Here you can see lots more examples of
how scamps are drawn and used in industry.
To see more examples you can also find some links in the description.
So how do you get good at drawing scamps?
Now unlike sketching you will require more skill and technique here.
When it comes to drawing scamps you will want to take a little more time and focus on clarity.
A technique I used is draw and trace. First draw a design on layout paper using a pencil.
This can be really rough like a sketch, then draw over your pencil sketch
with a fine marker, with clear lines to simplify your initial sketch
Once complete rub the pencil away and highlight any focal points of your design
with a bold marker to suggest hierarchy. Remove any mistakes or errors
with TipEx. If the result is still a little rough trace over the drawing
until the end result is clear and precise.
With my line drawing I can then fill in with colour using markers
or scan my line drawing onto the computer clean up and add colour using brushes in Photoshop
this technique works well for me but does take a little practice.
So skill in drawing for design will really benefit you in the industry
at university or college you will always be encouraged to think about your design
as sketches before jumping onto the computer to make the final result.
Clients love to see an idea come to life and employers really
like to see how you can come up with ideas.
So it's great to have examples of this in your portfolio.
This shows that you really think about your design.
So to conclude: Does the graphic designer need drawing skills?
Well for that I would answer:
Every designer should have skill in sketching and scamping, drawing for design
but not necessarily skill in drawing to render art
So what are your thoughts?
Do you agree with my conclusion? Do you think designers need drawing skills?
or do you think we don't need any?
Please share your experiences with drawing and sketching
and how your lack of drawing or skill in drawing has helped in your career.
Also what equipment do you use to do your drawing?
Be sure to share your thoughts and experiences in the comment section.
So if you have any other questions you would like me to answer regarding design
like in this video please pop them in the comment section below
or tweet me your questions @TastyTuts.
For more details see the instructions in the description
I look forward to hearing your questions and answering more in future videos.
Well I hope you enjoyed this video if you did and want to see more like this in future
be sure to subscribe and be sure to hit that Bell button
to be notified of future videos
Well thanks for watching guys and I'll see you in the next video.
and I'll see you in the next video!
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Protests expected during marijuana debate - Duration: 0:52.
RECREATIONAL MARIJUANA.
ANTOINETTE: "NEWSCENTER 5" KATIE
THOMPSON LIVE FROM THE
STATEHOUSE WITH CHANGES ON THE
TABLE.
REPORTER: PROTESTERS ARE
EXPECTED HERE AT THE STATEHOUSE
THIS MORNING JUST AS THAT DEBATE
OVER THE VOTER-APPROVED LAW GETS
UNDER WAY.
LAWMAKERS BACKING THE HOUSE BILL
SAY IT STRENGTHENS THE
REGULATORY STRUCTURE.
OPPONENTS SAY IT WILL DISCOURAGE
PEOPLE FROM BUYING THE DRUG
LEGALLY.
PROPOSED CHANGES ARE STEEP
TAXES.
TAX WOULD MORE THAN DOUBLE TO
28% INSTEAD OF THE
VOTER-APPROVED 12%.
THE BILL GIVES MORE CONTROL TO
LOCAL OFFICIALS TO BAN OR LIMIT
MARIJUANA SHOPS IN THEIR
COMMUNITIES.
NOW, THIS DOES NOT MAKE ANY
CHANGES AS TO HOW MUCH SOMEBODY
CAN LEGALLY POSSESS OR HOW MANY
-------------------------------------------
India to fill up Kishanganga reservoir in J&K this year despite Pakistan's objection - Duration: 2:30.
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La riqueza del español - ZAPATILLAS - Duration: 0:49.
The richness of the Spanish language
How do you say "shoes" in Spanish?
In Salamanca they say "deportivas"
In Buenos Aires they say "zapatillas"
In Valencia they say "bambas"
Well, in Tenerife they say "tenis"
Here are eight regions of Oaxaca…
What pretty "zapatillas"!
"Zapatillas"?
What "zapatillas"?
Your "zapatillas"!
Oh, these!
No, these are not shoes "zapatillas"
Here in Mexico they are called "tenis"
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[Unreleased.11] VICTON(빅톤)'s Born 아이덴티티_빅톤의 몰래카메라 1회 - Duration: 1:21.
(VICTON's Born Identity)
(Grandma's errands: How will the members react to grandma's many requests?)
Will you get that for me please? That.
Which one?
Cups and a teapot. I can't reach.
(He willingly helps out with a smile)
(Seungsik is kind)
Thank you.
I'm sorry, but could you move that water bottle here?
A water bottle? Which one?
You see that white one over there?
- Could you move that here? - Sure.
- I'm sorry. - It's all right.
(He smiles big while running an errand)
(He completes the errand with a smile)
I'm sorry, but could you open this for me? I can't open it.
(Surprisingly he can't open it)
It won't open.
Oh no.
Why are you so weak?
(He becomes the weakest member while running an errand)
(He fails to open the jar)
(How will the other members react to the candid camera?)
(Meet "VICTON's Born Identity" every Tues, Thurs at 8 pm)
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What Happens When Tidying Up Goes Completely Wrong [Intimacy Issues] - Duration: 4:04.
-I'm walking into my room. -Uh huh.
-Hopping into my bed.
-Hey, don't stay up too late.
-You don't want to do anything you'll regret.
-I've never regretted anything in my entire life.
-OK, night!
I'm too drunk for sleep.
She's gone.
A book? About cleaning up?
What could ever be in store?
Huh? Ahhh!
-Why did you press that noise? -You didn't answer your phone.
-I was so drunk. -Hmmm, I was there.
-Woah, what happened to your couch?
-I don't know, it looks... gone?
I think I read a book.
-What does a book have to do with your couch?
-What is that book about?
I threw out my beautiful duvet.
-Hey, It's going to be OK.
-What have you done to my home?
-Paul, relax, OK, I get it.
-It sucks you threw out everything you own,
except for the Steve Jobs poster you drew.
-What are we going to do here, Steve?
-Hey, at least you're not hurt.
-I guess you're right, plus now that I've thrown out
everything that ever mattered to me,
I can actually walk to my bed.
-Right, no more bed hops.
-OK, I'm going to the bathroom.
-I'll just stay here. It's been a very long five minutes.
-Hey, I can't tell if you ran out or threw out
all of your toilet paper?
-Uhhhh! What was that?
-And my moisturizer?
-I guess it didn't bring me any joy.
-Well, it cost me $65 dollars.
-Uh oh.
-Why do you sound like a drunk baby?
-You woke me up. -You were asleep for 20 seconds.
-Oh, that's not enough time for me to be acting like this.
-OK, let's go get you some toilet paper and a coffee.
-OK, let me just go grab my shopping tote.
-Uhhh, you know that birthday gift you got me that I look at all the time?
-The relationship scrapbook I made for you?
-Yeah, that one. It's gone.
-Wait, what, Paul?! -Sorry.
-Oh my God!
-Where did you get this book anyway?
-I don't know,
-Actually it appears as though I bought it for you,
for your birthday and forgot to give it to you,
so, uh, this whole thing is your fault.
-My fault? What a creative conclusion Paul.
-Nice to know you actually got me a birthday day gift though.
-Excuse me, I got you a whole birthday cake.
-It was a muffin, and you ate it, and I paid for dinner.
-Well, it was your birthday.
-Wait, don't tell me that you threw out Mister Dog.
From behind the line, it's out.
-Paul! -You said not to tell you.
-Look, this sucks equally for the both of us but at least nobody's hurt.
-Hey, guys, my mom is visiting and crashed on the couch last night.
Have either of you seen her?
-Nope, nevermind. She's downstairs.... in a garbage bag?!
-Honestly, I would love to apologize.
That's just not the kind of person I am.
-------------------------------------------
Tech World: Uber CEO news, Amazon makes $13.7bn acquisition and more - Duration: 5:34.
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Co nowego u nas, czyli nowości w Militaria.pl 21.06.2017 - Duration: 2:14.
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The Secrets of Modern Japanese Swordmaking - Iaito Manufacture at the Minosaka Workshop - Duration: 16:32.
The Japanese sword is a myth still very much alive.
Iaido and Kenjutsu practitioners, modern Samurais, still use the Katana in their training,
but lack of production has made the Katana a very rare and expensive item.
In the wake of World War Two the manufacturing and possession of edged weapons were forbidden.
Amidst this prohibition, the Iaito, a blunted version of the Katana, was born.
Iaito manufacturing, a modern craft founded on the millennial tradition of Japanese sword making,
has led a revival of the sword industry over the past 50 years,
and is to this day used by tens of thousands of martial artists throughout the world.
In Gifu prefecture, the cradle of Japanese swordmaking, a small number of workshops preserve this tradition.
Follow Mr. Wakihara, the leader of the Minosaka Workshop,
as he shares his experience and knowledge with us
and accompanies us into the vanishing art of Japanese sword making.
What do the Iaito and Katana have in common, what differentiates them?
Who are the people behind these swords?
Let's begin our journey into Minosaka's world.
We've asked Mr. Wakihara to explain how production is organized,
and what are the differences between Iaito and Shinken [real sword].
We'll give you some references and guidance during the interview,
but we've chosen to let Mr. Wakihara take the lead and present his work freely.
What we prepare in the workshop before we receive the order are
the raw blades,
after that, the polishing
and plating of the blades.
The parts up to that point are stocked in the workshop.
Of course, because the Hamon [blade pattern] and the blade length for example differ by the customer,
we craft the Habaki [blade collar] and Hamon according to the customer's order
at our workshop in the back, upon receiving the order.
The assembling is done in the workshop at the front.
After the blade is completed,
it is mounted with the Saya [sheath] and Tsuka [handle].
As for the Saya, there are various colors available, such as glossy black, Ishime [grainy] black, brown, red etc.
So we have a certain stock available,
for various coatings and blade lengths that are the most common.
As for the handles, there are many different colors of Tsuka-Ito [cord/wrap of the handle] black, brown, purple, olive brown, white and so on.
The Tsuka-Ito is braided by the craftsman after receiving the order. We assemble the pieces and ship them.
The entire manufacturing is handmade.
There's no part that can be mass produced.
If at one step, the work of a craftsman is stopped,
the sword cannot be made anymore,
and this makes it quite difficult to keep the balance.
Even if we were totally entrusted with the length and Kanagu [parts] options, it would take us at least 3 to 4 days to prepare an Iaito.
In general, it takes us about 3 weeks to prepare a sword, from receiving the order to shipping.
The fabrication of the Iaito and its numerous pieces,
reflects the philosophy of the ancient Japanese craftsmanship that is still alive today.
Although standardized and simplified, the fabrication process of every piece needs expertize.
However, the manufacture of the real swords, the so called Shinken, is of course, even more complex.
We've asked Mr. Wakihara to explain the main differences.
In the case of a Shinken, the sword's length is always different
because it's forged by a swordsmith.
Further, the sword's width at the base and the tip of the blade are always different.
To make a Koshirae [mounting] for such a Shinken,
the Saya must be made to the precise measurements of that blade,
carved and matched, one by one.
For the Iaito
we have a blade that sets the standard at the workshop.
Based on that, it is possible to prepare and setup the required tools,
and because all blades are identical to that sample blade,
we can carve the inside of the Saya with machines in larger quantities. That's the difference between a Shinken and Iaito Saya.
If we compare the costs of an Iaito Saya with a Shinken Saya,
the Shinken Saya is close to 10 times more expensive.
Producing a Shinken-like Saya for an Iaito would cost
200.000 to 300.000 Yen. (2.000-3.000 USD)
Making items that fit only one sword,
or make standardized handles and Saya that fit a standardized blade,
is totally different.
In either case though, Shinken or Iaito,
the material of the Saya is Honoki (magnolia wood).
For the Shinken, the best parts are selected.
For the Iaito, of course, excerpted parts are used as well, but they're of inferior quality, compared to the magnolia wood used for Shinken.
The same logic applies to all parts.
Those for Katana are completely made to measure and therefore unique,
whereas those of the Iaito are standardized.
The manufacturing techniques are somehow similar for most pieces, but simplified.
The standardization greatly reduces the time and cost of manufacture
and thus, renders this instrument available to most practitioners.
Obviously, the biggest difference between a Shinken and an Iaito is the blade,
the material it is made of, an aluminium based alloy, and with it the fact that it doesn't cut.
We've asked Mr. Wakihara why that is and what it was developed for in the first place.
For those who've just started Iaido practice and because they haven't learned the basic skills yet, using a Shinken would be dangerous.
I think that considering such safety issues was what started the usage of the Iaito.
When it comes to Japan,
Iaito made of ferrous alloy [iron or steel]
that could be hardened and sharpened by oneself would violate the Swords and Firearms Possession Control Law.
Further, even if the blade wasn't made of iron,
but could be hardened and sharpened,
obviously becoming a cutting item, it would also breach the Swords and Firearms Possession Control Law.
It's the same, even if you make a sword of stainless steel, close to iron.
If it gets sharp enough to cut when it's edged, even if it's not made of iron, the problem is the same.
The swordsmiths have a special status and the weapons they make are considered 'works of art',
and as such, the Shinken are not placed in the legal category of weapons but in that of art.
However, each sword must be registered at a police station
and receive a registration certificate that must never leave the sword.
The limitations around the manufacture of a Shinken and the low production
involve very high costs that can reach several million Yens.
About the weight, it can be said that the Iaito is lighter than the Shinken.
Because the weight of the iron used for Shinken compared to the aluminium-alloy used for Iaito is different,
resulting in the weight difference.
Because of the weight difference, some customers wish for a Iaito blade without groove to bring the weight closer to that of a Shinken.
In such a case, we ask the foundry craftsmen for a custom blade.
Indeed, you get more weight, but without groove, there's no Otonari [cutting sound] when cutting.
Currently, through retailers, in addition to Japan, we also ship to the US, Europe, and other overseas countries.
Usually, the standard length of a Tsuka is 8.5 Sun [26 cm],
but foreigners are taller than the Japanese and have bigger hands.
So orders for longer Tsuka, 9 or 9.5 Sun [27～29 cm] have increased
and we also receive more orders for Tsuka thicker than what is usually done in Japan for Iaito or Shinken.
If you want to make the Iaito we manufacture heavier,
we can for example use a heavy Tsuba [guard] and adjust it like that.
We also offer a Shinken mount service using a Shirasaya blade [blade from a swordsmith or ancient blade featuring a basic wooden mount for storage]
If you already have the Kanagu [Tsuba, Menuki, Fuchi and Kashira],
the pricing is about 8-90.000 Yen [800 to 900 US dollars]
Further, if we were entrusted with creating the Kanagu for a sword
that would also be added to the price.
However, in that case, the Kanagu would be modern pieces, the same as used for our Iaito.
For custom-made Kanagu, tailored to a Katana, we'd have them made by specialized craftsmen.
I think the most difficult part about making an Iaito, is to polish the blade.
That's a task for which very special skills are needed.
In addition, there's the craftsmen who make the raw blade,
the craftsmen who polish the blade,
the craftsmen who carve the Saya, and the craftsmen who do the lacquer,
those for the Kanagu,
and those who wrap the Tsuka,
the craftsmen who make the Hamon, and those who make the Habaki.
Then those who do the mounting, and those who make the Sageo,
A perfect equilibrium between all craftsmen is required to obtain the final piece.
When the mounting is over and the piece is finished, I often think "it's amazing how many hands are involved in the manufacturing process".
Gathering the work of so many craftsmen to assemble a perfectly balanced piece
reflects Minosaka's philosophy of working in harmony with other artisans.
This raises the question:
What historical relation exists between the Iaito Koshirae, the mount, and the ancient Katana?
Among our products are Higo Koshirae, Jidai Koshirae, Tensho Koshirae, Kanesada Shinto Higo Koshirae,
Edo Koshirae, Toppei Koshirae etc. and they are replicas of the most representative ones of a specific style [often related to a Samurai clan, a historical period or a specific swordsmith].
It can be assumed though, that different types of the same "Toppei Koshirae" for example, existed in the olden days.
About the Higo Koshirae to only mention one, the representative form features a rounded Kashira [Tsuka butt cap] and Saya tip.
When it comes to the Higo Koshirae, there's the orthodox form of the standard Higo Koshirae, featuring a rounded Kashira because all Higo style Koshirae have a rounded Kashira.
"Dotanuki" is the name of a swordsmith who used to perform his art in Kyushu.
The swords made by this swordsmith are typically larger and thicker.
Manufactured based on the replica of the sword of that swordsmith, are our Dotanuki Iaito.
Using those Shinken as a sample, great historical knowledge is preserved and incorporated into those Iaito.
Paired with the artisan's expertize the most aesthetic models are created.
The concept of beauty in Japanese traditional design is different from the one in the West.
Signs of imperfections and signs of age are prised.
They inspire us to contemplate the passing of time and the imperfect nature of life.
A beautiful object should inspire a feeling of loneliness and quiet self reflexion.
The Iaito is primarily a practical tool for practitioners of Iai and Kenjutsu.
But it's not a mere reproduction,
it's a continuation of the culture of the Katana representing Japan, its tradition and modernity.
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Nonstop Có Em Chờ Remix ft. Em Không Là Duy Nhất | Nhạc Trẻ Tâm Trạng Remix Hay & Mới Nhất 2017 - Duration: 42:46.
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My First - Duration: 6:50.
Say something, say something Axel
because i'm trying de record my first video..
(Alright, alright..)
it's not easy..
You give me 2 minutes,
i'm recording this and then i call you back
yep, no worries, by the way
i'm not very busy so..)
So, i set up my camera because
my girlfriend is away and,
when she's around i feel a little bit shy
to talk i don't know why..
because it's a little bit strange to..
well, to pretend that you're talking to someone
but there is actually no one in front of you
And plus, i've got that feeling that
i'm always looking someone in the eyes
so there is a moment
i feel a bit uncomfortable you know,
i don't want you to.. i don't want you..
Let's try not to get upset
whatever.
So, for the title of my first video,
well.. Obviously..
i'm gonna call it "my first video"..
and. what we will do for my first video?
We gonna see my best friend "Edward"
Today, Edward is celebrating his birthday
so we will go to central London.
We will take some nice shots of the city
and i will share it with you.
If you like it
just leave some comments
and eventually, talk about this with your friends..
..it's always nice..
See you soon !
So, now i'm with Edward
Edward
we can all wish him happy birthday
(Hello)
You good Edward, are you happy ?
(Yes, i'm very happy.)
He's very happy today
because he's celebrating his 26 years old.
so we will try the get some drinks..
Now we are with Asterios
i've met this guy
more than a year ago
Asterios is very good in French
and he will now tell you something in French..
The Hospital ^^
thank you so much.. !
Now we are in the Restaurant
where Edward is working.
it's been now a while that he's working here,
he became a manager.
So we will have some beers and then
we will go to eat Japanese
(Today)
Today.
We will eat some sushi.
Well, i think we gonna go..
Where is Edward?
Edwaaaardd ??
Edward is a little bit in trouble..
sorry for him
Happy birthday Edward !
(Thank you Sir!)
You're welcome Sir !
Hey Hey Hey
F***
The more they are Portuguese, the more they act like pigs !
Bye Bye Edward
Have a good night my buddy.
Be careful..
Be cute..
Goodbye..
Gooooodddbyyye..
GooOOdbyyee
Tomorrow we're going on Holidays,
We will go to Athens,
And you will see all of this
in the next video.
I hope you enjoyed the "First Video"
I'll see you the next week.
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{ADSENSE} How To Change Address and Payee Name In Adsense Account [ADSENSE TUTORIALS] - Duration: 1:16.
Hi, uses the system from the brotherhood of Bluebell calm today. I'm going to show you how to change your pee name in
Adsense acount no adsense permits you to change your pee name in India and this is not a building profile name
It's a payee name so in order to do this. I need you sign in to your Google adsense account click on the settings icon
Go to Pavement section at left side you see Payee profile click on Payee profile
now you see an edit button under pay profile click on Edit and
Scroll down under address section where you will be edit your name address the stick and pin code Etc
The only thing you will not be able to change here is us
country country remains same as shown here in India and you will not be able to change your
country and rest of the things like
address Spin State could be changed after
editing you go to this save button and click old and this is a simple way to change your payee name and
Thanks, and thanks for watching hit and subscribe for more amazing tutorials. Thank you
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