Tuesday, February 28, 2017

swimming pool in iloilo city

. after spending time in capiz, visitingthe fish ponds and observing the calm and relaxed nature of the province, i couldn't think of a lesslikely place for the aswang to live. i began to reflect on the informationi had obtained and why capiz is so attached to the myth.if we take a look at only the stories of the aswang that havebeen documented throughout the visayas there's nothing particularly damningabout capiz if we add stories documented in theentire philippines

it seems based on sightings alone,manila would be their likely home. so what happened that made capiz thecenter gossip regarding the aswang? the freedom fighters opposing thespanish? the babaylan? they were all over the philippines. whilei believe this contributes to why they were women it doesn't explain capiz as beingtheir home. looking at the locations of all the major upheavals against thespanish, it once again seems manila is the center of activity. although there was one revolution led by tapar, a babaylan

who some claim was a female shayman andothers believe was a man dressed as a woman i'm not saying the spanish are innocent, itis no coincidence that the aswang folklore is almost irrelevant in regions where the spanish were unableto successfully colonize .. father placencia documented the aswangas existing throughout the visayas which include several islands in thecentral philippines another curious factor is the manananggal

along with one quarter of the witcheshe spoke of came from catanduanes in the bicol region north that thevisayas, so why panay, and capiz in particular? my answer came in the most unlikelyof circumstances in the field i hadn't thought ofbefore. while in capiz, i became involved in relief efforts after typhoonfrank have devastated the small island barangay of olotayan i met a doctor who had recently attendedthe seminar by doctor lilian lee regarding an extremely rare

and thus far untreatable for of dystonia. xdp x-linked dystonia parkinsonism syndrome it used to be called dystonia of panay panay, in reference to panayisland in the philippines the whole spectrum is dystoniaand parkinsonism because they're also parkinson like syndromes these are involuntary repetitive small tremor movements.to be able to flex my hand so

my flexor muscles would need to contractbut at the same time my extensor muscles of thehand would need too relaxed so that my hand can flex. this is coordinated in the brain. patients with xdp would get repetitive twisting uncontrolled contractions of opposing muscle groups that's why the local name is also one ofthe local names is lubag

if you translated in english it means twisting muscle twisting, lubag. xdp is passed downgenetically this is how it works, in healthy parents the man would have an x and ychromosome. the female would have two x chromosomes if they were to have a son an xchromosome comes from the mother and that y comes from the father. ifthey were to have a daughter an x would come from the mother and theother from the father if the female is a carrier of xdp, sheis unaffected because the good x

chromosome balances out the defect in the other itis still possible for her to have a healthy son or daughter if the uneffective x chromosome ispassed on however if the affected gene is passedon their daughter would become a carrierand their son would have a physical manifestation of the disease usually appearing sometime in his late30's early 40's because the onset in xdp comes laterin life

it is common for an affected man to havea child before they began showing symptoms leaving his son unaffected but hisdaughter as a carrier. there are few cases where an affected male and female had a daughter, who receive thedefective gene from both parents and had the physical manifestationof the disease. how specific is it to panay? i think the 500 or so reported that cases worldwide all of them, i think can be

traced to to the philippines, and to panay island in particular. george viterbo i think he was one of the first to observethis dystonia among his patients here in panay. if i could just show yousome of the drawings of george viterbo of people that seems to be in atransforming motion or mood. i startedthinking that

that this disease occurring in thispopulation for 50 generations - that's what? thousand years could easily havecontributed to the aswang phenomenon people visiting these islands, foreignersspaniards, americans couldn't even also themselvesexplain you know this transforming person,when in fact the person is not is not really transforming but is afflicted with a certain disease that they just don'tknow of.

this particular patient came backto capiz to live with his family after being independent in manila forseveral years. because of this disease he lost his jobhis girlfriend and his nieces and nephews who he usedto play and joke with are now scared of him. before being afflicted, he would spendmuch of his spare time with friends playing basketball and now finds it frustrating thathis life is confined behind closed doors i learned the only time his musclesrelax

is when he is sleeping. it is also theonly time he can escape from his burden as he explained when he dreams he isunaffected i later learned that there weremany cases where families were shunned because this disease is misunderstood even one of my companions on thevisit a resident of capiz, was scared whilesitting near the patient. i couldn't help but be reminded of the aswang in the stage play luna an aswang romance. it is uncanny how similar the depictionis, yet it comes from someone who has

never seen an xdp patient i again saw this disturbinginterpretation of the aswang this time from the children capiz. which was very different from the aswang being imitated in manila. even patients themselves who are affected by xdp become ashamed of it of the disease thatthey have the disease or that a

because they'd won they don't want to bea burden to their families so there are cases where they haveresorted to just killing themselves because of the stigma, because ofthe burden because of the lack of social support perhaps.

Friday, February 24, 2017

swimming pool grande prairie

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Thursday, February 23, 2017

swimming pool games for girls and boys

stop there's a naked boy in my pool currently good day everyone ,and welcome to today's video oh my god.. boys! umm, it feels like it's been a while since i've actually vlogged i think this is the first time being back in la that i've actually vlogged umm, so i'm back obviously from my trip from boston and...hey!! do not eat this couch do not eat this couch........(i didn't do it i didn't do it)

umm...so anyways today's gonna be crazybecause i had this video planned for you probably have seen it before this vlogumm...but i wanna do a giant orbeez bath because i saw a video online of this guydo it with a pool and honestly i could never pull that off and that seems likereally hard to clean up but a bath tub seems more doable so i am going to bemaking a bathtub full of orbeez and its just kind of like a dream of my like ifeel like when i was a kid i wanted to like jump into a pool of water but ifeel like this is the closest to that sort of cause it has a jiggly jello-y feel it's going to trythat out these boys are going crazy

you boys are literally insane umm... oh my god i justrealized i don't think i've showed this yet but storm hates this miniature doll ofwolf and i believe i got this at vidcon oh yeah maricah diaz i believe that's how you sayyour name... i think she gave this to me at vidcon yeah it was vidcon but so incrediblelike this girl is so... here let me see if i can get a close-up so amazing it likeactually looks just like wolfie like every little detail about wolf she gotdown but it freaks the hell out of storm so get ready for this really funny okayhere we go

storm what's this! let me place this down you guys can't even see what storm is doing, let me put it here instead he's mad that he doesn't have one helike doesn't know how to act as he's not being as funny as he was the first timehe like was just staring at it like just looking up at the miniature...oh there you gowhat did you say what do you say um well let's hit the store let's go see if we could find someorbeez to make it into a bathtub shall we? we shall alrighty guys so the merchandise hasbeen acquired

so these aren't exactly orbeezspecifically but they are pretty much exactly the same thing i couldn't findany actual orbeez that come individual like this but i got these and i guess 1 tubewill equal an entire bathtub which i didn't believe so i got three of them and theni got a glow-in-the-dark and this like instant snow so i'm going to try theseout and let's go home! alright so i'm back at the house i gotthe orbeez and now there's a naked boy (stop!) there's a naked boy in my pool currently what are you doing swimming naked turn..turn..turn that off!

no! no... they wanna see. no! i know they do. i'm sure they do but they gotta pay me for that! haha oh they can pay? where can they pay? yes...you can download the link below. (gasp) danielnaked.comjust kidding don't go to that link i don't know what it is. um...i should put some orbeez in here

no. what are you doing?! givin them a little sneak peak you're nasty. do i need to hop in here naked with you? you sure do it's nice and warm. uh oh. here boy. okay.i'll join you.

currently naked in the pool it's cool. cool for the summer don't you dare nasty so we're just enjoying a little naked pool time storm...do you wanna get naked too and get in here with us? no i'm gonna stay out here you guys are sick...sick perverts sick sick perverts

Wednesday, February 22, 2017

swimming pool filter cleaner

the reason we have stopped is the filter hasa lot of pressure on it and we need to backwash it and the reason it has pressure is becausewe're sucking these contaminants up and taking them to the filter so that they don't getback into the swimming pool. now that we have the pump basket clean wewant to place it back in the pump. the pump basket catches everything that comes throughthat is too big to go into the filter. this is our sand filter that we are backwashing.normally the filter runs on filter. you have filter, winter, closed, backwash, recirculateand rinse. you want to backwash, you push your valve down move it around to backwash.once you have backwashed you want to move it around to rinse. now mind you you haveto cut the filter off, the power off the pump

every time you change your valve or it willripple your spider gasket and you will be taking it apart to replace your spider gasketso right now we're at backwash. we will backwash it for about two minutes, turn the pump off,move it around to rinse, we'll rinse until our sight glass is clear and then we willput it back on filter and we also look at our pressure gage to see what the pressureis running because we don't want the pump to run too high of pressure.

Tuesday, February 21, 2017

swimming pool evaporation rate

- [dan] hello, internet.- [phil] hey, guys. hi. - hello, internet. ♪ [music] ♪ - why do you always makecat whiskers on your face? hello, everyone! hey, guys.hello, hello, hello, hello. - hello, hello, hello. hi, hi. in the middle, hey.how you doing? at the very top, hi.hi. how are you? - hi. hello.

- so hollywood, how are youdoing tonight? are you good? allright. well, dan, at no point in life,thought he'd be saying that,seriously. but good that youare good. yes. - yeah. so dan, as we're here inhollywood... - we are, indeed. - i would like three facts abouthollywood, please. - wait. what?- three facts. - you can't just ask me to givethem facts. i don't haveanything prepared. - i mean you must know somethingabout hollywood. come on. factone.

- okay. i know somethingthat happened this morning. we were walking throughhollywood, and we saw shrek's star on thewalk of fame, seriously. - that we did. - i am not joking. we were justlooking down, and i was like,"wait. oh, my god. oh, my god. my senpai." it wasgood. it was an emotional momentfor me. - there was actual tearson that shrek star. - there were, actually.- fact two. - another fact is that this isthe actual theater where theoscars happen.

that's awesome, right? you guys, you are sharingseats with some celebrity butts. i am telling you that,seriously.- definitely. - just soak it up. oh, yeah. - fact three. - obviously a fact is that thepeople of hollywood havebeautiful american accents. that's true.- yes. - it is a wonderful thing forus brits. i have an idea. as phil just so kindlyput me on the spot like that,

how's about phil gives ushis best american accent? - you can't make me doan american accent. - we all want to hear philattempt that. don't we? come on. - i am sorry in advance. oh,hey, hollywood. i'm so happy tobe here. that was terrible. that wasreally bad. - what was that? okay. - i'm sorry. - well, i don't know about youguys, but i feel like we shouldmove on before we get deported. yeah. right. well, this is allgood. phil, i don't want to alarm youor anything, but look around.

what the heckis all of this stuff? isn't that one of yourhouse plants, phil? - yes. there's my cactus, loki. - loki? - yeah. - i wasn't aware you startednaming your house plants. - i named the cactus. - okay. but no, look. it's therubber duck from our bathroom orthe stickers from your laptop. - there's my sharpiecollection as well.

- what is under that thing? - you know i can't resistsomething covered with amysterious cloth. - should phil pull it off?yeah, come on, phil. - wow.- that's huge. - i'm going to ride it.- you're going to what? - i'm going to ride it. - okay. phil is mounting thegiant lion, everybody. [cheering] - it's so majestic.

- right. so if there was agiant lion under that sheet, then i wonder what's goingto be under that one. okay. i think we all know.let's see. okay. and it is... a giant llama. wow. oh, would you look at that? it'slike a huge tribute to 2011. whatever next? will a packet ofmaltesers and a placenta rollacross the stage? seriously. cringe attack. - who thinks dan shouldmount the llama? - no, no, no, stop. i'm quitehappy down here. thank you.

- mount the llama. mount thellama. mount the llama. mountthe llama. - okay. fine. fine. okay. geez.peer pressure. okay. i'm gettingon the llama. right. okay. this is very high.all right. hey. - hey. i wonder if they've gotany special features. there's alittle button here. [roar] that's how i feel every morning. - wow. i wonder what thebutton on mine does. - yeah.[llama noise] - really? that exact noise?

- is that how you feelevery morning, dan? - yeah, that's kind of how ifeel right now, actually. - so... - well, this is a thing then. [ding] guys, this is the thing that wejust came through, this thing inthe middle here. yeah. yeah. phil, it appearsto be a giant microwave. what? - uh-oh. i mean, what? - phil, do you know somethingabout the giant microwave?

- um.- phil? - i mean it's a greatonomatopoeia. microwave. - nice reference there, phil. isee. right. that's it. i'mgetting down. oh no. i'm gonna die. okay. thank you. right.phil, get off the lion. i think we need to have alittle chat about something. - i can't get down. - what do you meanyou can't get down? - i'm stuck.

- oh, you're stuck, are you?that's convenient. sorry about this, guys. veryembarrassing. we're having a bitof a domestic here. i swear to god, i will pull youoff the lion if you don't getdown right now, phil. - it's so high. ah. ah. - this is why you don't mountthings. right. so phil? - well, you know how my laptop'salways running out of battery. - yeah, because you watch animein the bath every morning forthree hours. - and how radiation givespeople superpowers. - yep. sure, phil.

- well, i may havemicro-- [cough] - sorry, phil. could you saythat a bit louder for the guysat the back? - i microwaved my laptop! - you did what? why would youmicrowave your laptop? - i thought it wouldincrease the battery life. - oh, my god. phil, i don'tbelieve this. that is sodangerous. firstly, literally, the entirething is made out of metal. secondly, nobody understandswhat microwaves do. they doweird things to physics. i mean you put in corn kernels,and it just comes out likepopcorn. what's that about?

- exactly.- hang on. hang on. dan, i thinkthat's what happened here. - what? - i put my laptop in themicrowave, and everything insideit pops out like popcorn. - wait. phil, i think you'reright. that must be exactly whathas happened here. you microwaved your laptop and everything inside it andfrom our youtube channel hasexploded into reality. - wow. i'm glad i emptied myrecycle bin before thathappened. - do i want to know? - no.- okay.

- so how does that explainthese guys then? - well, i guess these guys mustbe our followers from theinternet. hey. hey. - hey. wow.- cool. - they're like real-lifeyoutube comments. - dear god, that is aterrifying thought. wait, wait. what does that mean?if they're real-life youtubecomments, does that mean we can thumbsthem up and thumbs them down andstuff? - don't thumbs anyoneup or down, please. - whoa. okay. sorry. sorry.

really didn't want to get tothumbing that early in the show. but no, seriously.see the person right there? what would happenif i reported them? would they just fly into theceiling and disappear orsomethng? - i think in this universe,that could be murder. so no blocking, reporting,thumbing. - okay. sorry, sorry,sorry. - just leave them alone. - well, i think you'll allagree. this is a pretty weirdsituation. so i am going to post a cheekytweet about this. one sec.

all right. let's see.whoa, whoa, whoa. wait, phil. something'shappened to my phone. it's a nokia 3310. - awesome. we can play snake. - no, phil. i don't think you'vequite understood what's clearlygoing on here. - no more iphone, everythingfrom your laptop, these guyssuddenly in real life. phil, you have destroyedthe internet. oh, my god. phil, what do we do? i don't know how to livewithout the internet.

how are we supposed toentertain these people? i'm used to hidingbehind a screen so i don't have to dealwith their reactions. - well, you know what mygrandma always used to say? if you microwave your laptop anddestroy the universe, make themost out of the situation. - that's an incredibly specificpiece of advice, phil. - seriously though. i mean we'reon a stage. we've got anaudience. there's loads of snazzylights everywhere. - there are.

- i think i could do somethingi've always dreamed of. - well, what have you alwaysdreamed of doing, phil? - well, something like... - phil? phil, what's happening?wait, phil. why is there musicplaying? ♪ whenever i'm alone or if i'mfeeling gray, there's one placei can go♪ ♪ to brighten up my day. ♪ - stop. stop. stop themusic. stop the music. hey. - hey. - you turn off that light.you're encouraging him.

sorry. sorry, everybody. i don't want to be that guy,but, phil, we are youtubers. we make videos on the internet. we don't burst into song liketroy bolton. - oh. i think we should trysomething different, a littlesong, a little dance. as less-amazing phil would say,"try new things." - okay. phil, you can't justsay, "try new things," just likethat. - well, i just did. - well, it looks like we'rehaving a bit of a disagreementabout what to do here, phil.

- looks like we are. - well, how do you supposewe resolve this? - it's the 7-second challenge. - right. okay. well, i guessthat would be the perfect way toresolve this. - in case anyone's as confusedas i am right now, phil, why don't you explain whatthe 7-second challenge is? - hopefully you guys know whatthe 7-second challenge is,right? cool. there is oneconfused dad up there. - what are you on about?

- well, basically, you have todo whatever the other personsays in seven seconds. - that's basically it.it's a very simple game. - but phil, what happens aftersomebody attempts the challenge? - well, the other person decideswhether they nailed it. [victorynoise] that's sexy. - that waspretty cool, actually. - or failed it.[buzzer] - that's the bad one. - sounded like anangry badger. ehh. - yeah, because when badgersattack, that's how they sound.isn't that right?

well, i am totally ready to dothis, but i don't see how we'regoing to do the 7-second challenge withouta timer of any kind. - oh, yeah. [ding]isn't that convenient? - okay. sure. whatever.i guess that'd work. - hey, dan. i've got an idea.- yeah. - why don't we testit out on these guys? - okay. all right. i seewhere you're going. okay. who is up for someaudience participation? okay. well, a lot of you wereclearly very excited by that.good. good for you.

about half of you thoughwere like, "what? no. no. oh, my god. dan, please.dan, don't do this to me. no.no. no!" don't worry. do not worry. youhave seen my video. i would notdo that to you. phil, i have an idea. - yeah? - you can all attempt thischallenge at the same time. that is right. okay. so i don't want to see a singleone of you not joining in because you are collectivelyresponsible for nailing it orfailing it.

phil, are you ready? - yeah. you guys at the top,you're on phil watch. - okay. right. let's do this. [tense music] okay, wow.that's tense. do you guys feel thetension right now? - oh, yeah. - good, because this is seriousbusiness, okay? right. your challenge is to give me andphil three different animalimpressions in seven seconds.

okay? go! six, five, four,three, two, one. stop. stop. please, stop. wow. okay. - well, that was something. - it was like the sound ofnoah's ark crashing into a rock. - we had some geese honking downhere, some zebras mating at thetop. - phil, please. i mean youcan't deny that they tried. i think the effort wasdefinitely there. - yeah, i think for effortalone, you all collectivelynailed it. [victory noise]

[victory noise] - all right. okay. look, phil.they applauded themselves. - oh. - no, that's good. you haveself-esteem. yes. yes. cheer for us. okay. well, i guess it's our turnthen, phil. just one smallprob-o. where are we going to getchallenges from? after all, noapp. i'm just going to stopasking questions. what's in the box, phil?

- it's some 7-second challenges. - written by these guys. - oh, okay. these guys wrotethese? and now we're about to... i'm not scared or anything.- guess what, dan. - yeah.- you're going first. - why? - i invented the 7-secondchallenge. so i get to bechallenge master. - yeah, yeah. because nobodyever brings that up, right? oh, did you know that amazingphil actually created the7-second challenge?

okay, okay. so to be clear what weare playing for here, if i win, we stick to doingwhat we do on youtube. if you win, you get to do yoursinging and try new things,whatever they are. - let's do this. oh, god. right, guys. give mesome energy. charge me up. damn. thank you. all right.i am fricking zazzed now. - all right. our first one foryou comes from jackie. - okay.

- who wants you to act outthree different memes. - what? okay. wow.much doge. very dog. oh, i am the crying pepe. oh, waddup? it's dat boi. because that was aunicycle. right, guys? - i was curious. - oh, my god. what is my life? so the bar for thisshow has just been set, and it is down there. okay.

- definitely. all right. what doyou guys think? do you think henailed it? - thank you. come on, phil. - i mean you are the king ofmemes. you nailed it. [victorynoise] - okay. thank you. good start,danny. okay. what are you doing? - i'm just warming up. - okay. watch out, people. philis warmed up. okay. phil, yourfirst challenge comes from kendall, who wants you todo a rap about the nearestobject to you. go. - okay. yo. this candle,cactus, is really green. if i threw it at dan, itwould be really mean. word.

- okay. okay. phil. phil. didyou just embrace the cactus andgo, "word?" - i did. - okay. i am sorry. i'mpretty sure that's offensive. - i may have calledit a candle at first. - you brought it back.- but i did rhyme at the end. - it is green, and if you threwit at me, it would be mean. youactually rhymed? - i rhymed. - okay. here's how we will tell.who would buy "cactus" by phillester on itunes? maybe it could be the bonustrack on the ladders ep whenthat comes out.

well, the people seem to likeit. i'm going to say you nailedit, phil. please put thatdown. right. okay. one-all. let's keep this going. - let's do it. okay. this one comes from jake. - be kind, jake. - who wants you to spelldan howell backwards. - what? okay.l-l-e-w-o-h, n-a-d? - i can't believe you did that.

- that was going nowherein my head. okay. - once you got tow, i was like... - no idea how to get... therewere people in the audiencelike, "come on. come on. he's doing it. he's doing...yes." thank you. okay. come on,phil. come on. - well, you definitely nailedthat one. [victory noise] - all right. thank you. thatpressure was too much. okay.phil. - yes. - your next one comes from lexi,and you better get this oneright. - oh, no.

- phil, name five differentbreeds of dog. go. - golden retriever, chihuahua,shiba iiu, alsatian, yellow dog. - yellow dog?[laughter] - i had to say something. - okay. wait a minute. - a yellow dog istechnically a dog. - yellow dog. - yellow dog? - okay, yeah, we all know thefamous dog breed, yellow dog.

what are some of the names ofdogs that phil could have said?just shout them out, guys. - it's all comingback to me now. - listen to all of the thingsyou could have said. - pug. dalmatian. - too little, too late, phil.you failed it. okay. what a shame. why is this socompetitive? okay, right. - right, okay. this next onecomes from denna.

- who wants you to do thesexy end-screen dance. - it's thesexy end-screen dance. just click here, and i'll loseall my self worth. okay. yeah,that was... - wow. there is a reason we stoppeddoing the sexy end-screen danceand drawful naked. - definitely.-they are very inappropriate. a lot of you clearly enjoyedthat, but there are some peoplelike, "what's just happened?"- what was that? - can we just have a moment ofsilence for the lost end screensof dan and phil?

great decision. - so these guys seem to enjoyit. so i'm going to say younailed it. - okay. give me those back. i nailed it, but at what cost?my dignity. okay, right. phil, this is from sam, whowants you, thank you, to do animpression of dan. - hi. my name is dan. really? okay, okay. you could have done anything, and you did literally the worstthing you could have done. okay,whatever.

was that an accuratefetus dan impression? - i think it was. i think ibecame fetus dan for a second. - okay, right. well,they seem to enjoy it. i shouldn't have to be bulliedin my own stage show, but i'm going to say younailed it, phil. well done. - wait a minute. wait a minute.you did get that one about thedog breeds wrong, which i guess means that i wonthe 7-second challenge. allright. thank you. - whoa, whoa, whoa.wait a second. i think we need tospice things up a bit.

- okay. phil. phil.no, don't do this. - i think we need todo all or nothing. - okay. phil. you can't justsay, "all or nothing," everytime you lose something. it's for when people draw. - just think about theexplosions at the end of amovie. - this guy. - the slow-motion running. wehave all of that right now, hereon this stage. - you know what? you know what? i will take the bait, likei do every single time.

phil, you wanna go down instyle? that's fine by me. bringit on. all or nothing.- all or nothing. [dramatic noise] - that is so terrifying. i am like totally ready to dothis, but we have run out ofchallenges. so we're gonna have to getsome more cards from somewhere. [evil laughing] - what was that? - phil, the box. themystery box is glowing.

- do you think it's radioactive? - well, apparently you'll getsuperpowers if it is. - okay.- what is it, phil? - it's a mysterious card witha question mark on it. - oh. right. well, what's on themysterious card, phil? - a 7-second challenge. - it's a challenge?- yeah. - okay then. i guess this can bemy one. are you ready, guys? allor nothing. okay. let's do this. hit me, phil.

- dan.- yes. - turn into a whale and swim tothe other side of the room. - what? i can't get to the otherside of the room in sevenseconds. how can i turn into a whale? [makes whale noises] - dan. dan. dan! i mean that was reallybeautiful, but you're stillhere. - obviously. - i don't see a blowhole,so you failed it.

and it was all or nothing,which means i win. - okay. right. give me thatcard. i don't believe you. turn into a whale. this isn'tphysically possible. okay. who put this here? - i don't know. - right. well, whatever. i guessphil won all or nothing. what asurprise. - all right.- oh, why did i bother? - time to bring some showbusiness to the stage. - do you know why i'm calledamazing phil?

[audience] because you'reamazing! -thank you. - i mean you told meyou're called amazing phil because you wanted to appearfirst when people are sortedalphabetically. - it was actually because ialways had ambitions to become amagician. - audience, prepare yourselvesfor the mind-boggling and mildlyinteresting feats of the amazing phil.[drum roll] - phil? phil, whereare you going? phil, what do you mean"the amazing phil?" sorry about this, guys. phil?

why is there a drum rollplaying? i'm very concernedright now. okay. he's got a sparkly box. and he's wearing a shiny jacketand a top hat. okay, okay, sure. phil? whatyou got there? [ta-da sound] wow. what a mess. there yougo, your first souvenir. okay, this is happening. what you go there, philly?a little cloth of some kind. whoa, whoa, whoa. okay, i seewhat kind of show this is.

close your eyes, everybody. theamazing phil is a stripper,apparently. what? okay. wait aminute. wait a minute. okay. sure, sure, fine, right. i take it back. let'ssee what he does. you want me to force choke you? oh, thirsty. you drink. right,yep, sure. what you got? oh, is that ribena? my fave.thanks, phil. sorry, but this just seems likea nice favor to do for yourbuddy. i don't really see where themagic is with this one.

okay, okay, wait. okay, i don't actuallysee how he's doing that. witch! get away from mewith your satan water! was that necessary? thanks. don't really want the rest ofthis, funnily enough. anybodythirsty? have a... you actuallyput up your hand. wow. i was joking. that's fine.i'll just put this down here. food to go with the drink.nice. magic with a story. what do you have?

it's a sign that sayseggs. okay. sure. flour, right. butter. are these ingredients?hang on a sec. sugar, okay, i think we knowwhere this is going. i am ready for this, phil.give me what i want. a delicious, juicy... ...picture of a cake. thanks, phil. iappreciate the magic but you can't eat a pictureof a cake, i'm just saying.

oh my god, you don't have toprove me wrong, you freak. thank you. i'll justput this over here. you okay, phil?you look like you're gonna barf. what is that? what is comingout? do you want me to help? right, here we go. phil, what is this? whereis this coming from? oh, this is so disgusting.it's covered in dribble. thank you. okay. who wants some dribblystuff from phil's mouth?

of course you do,of course you do. you disgust me. a sketch pad. doingsome art now, are we? a pen? in the box? don't mind me, just being theglamorous assistant for asecond, guys. okay. let's... oh, my god, phil.why is there a dead rabbit inyour magic... i mean there's nothing in thebox, other than... this pen. everything is fine.there you go phil. right, what wedrawing? it's a circle.

it's a b... a bal... a ball. right, yeah, obviously. big sports fan. a golf ball. football.basketball. bow... bowel... a bowling ball!i got that before you. right, what now, phil? -ah! ah! - you sound a bit constipated. wait a minute.

where did this come from? hang on a sec. so you just made a real bowlingball fall out of that drawing, but you gave me apicture of a cake? what is wrongwith this guy? who wants a bowlingball? here you go. i don't even know whatto say to you anymore. i'll just put thissomewhere safe. strike. continue.

[crashing sound] [screaming] jesus. oh, great. another cloth dance.loved that the first time. he could've actually impaledme with that. just saying. phil? phil, what have you done? have you done something to themicrowave? phil, why is itsmoking? oh my god, this is so dangerous. okay guys, you're going to haveto tell me what's inside this. ican't see. what? what is it? why arepeople screaming?

guys? that's it. i'mcoming round and looking. what is that? - get in the box. - i'm not getting in that.- get in the box. - this is a terrible idea. - what? what? oh my god phil, whathave you done to my legs? - i was trying to make a llamaappear, and i think somethingwent wrong. - you think somethingwent wrong?

if these are here, then where'sthe other half of the llama? and does it have my legs? - i think it's best notto think about that. - what do i do? - i mean it looks really great. - that is not the point. - i'm sure it's just temporary. - you're sure it's temporary? - well, how's about i make thiswhole stupid magic trickdisappear?

give me your outfit. okay, really? phil, can youplease take this seriously? thank you. very impressive.right, jacket. and the hat. oh, oh, he gets sympathy? really, people? idon't believe this. i am going to work out what todo about my little furrysituation here. phil, while i leave you alone,please just stick to what we doon youtube. - okay. all right.

- well bye, i guess. oh no. - i think it looks great.look at his little tail. - oh, please. - well, i guessit's just us then. so dan said i shouldstick to what i know. i mean normally i'd befondling my house plants, but... ...maybe not that one. i don't have my laptop.i don't have my video camera. hey, maybe i could try pressingsome of these microwave buttons.

here we go.three, two, one... well that was an anticlimax. i think they're broken.should i give it a kick? [audience] yes! [explosion] woah! you didn't see that.don't tell dan. what have we got?what is this? i'm just gonna put this backexactly how it was. there we go. it's a button thatsays "push me."

okay. if something goes wrong,it is totally your fault. here we go. oh no. is everyone okay? is anyone scared of the dark? okay, alright. i'll press itagain. i'll press it again. let there be light. that felt powerful. hey, something's appearing onthe microwave. what do we havehere?

oh! you're not meantto see that or that! or that! hey! looks like we've stumbledacross dan's selfie collection. oh. it's his unsuccessful selfiecollection. what else have wegot? oh no, that is not a good angle. let's move on from that one. oh, i think that's a classiccase of accidental front camera.

we've all done that rightbefore, guys. got any more? oh no! i don't even want toknow what is going on there. let's move on. oh, it's my weird kid files. i knowhow to talk about this. i think i got to where i amtoday by being a rather strangeindividual. i've got a 2007 myspace haircut.i'm terrified of cheese. i wear un-matching socks.what have i got on today?

foxes and sloths. i think this all stems back tothe fact that i was a ratherstrange child. let's have a look at young phil. there i am. that was me, back when iwas conjoined to a zebra. me and susanhad great times together. let's have a look at some of thereasons why this guy was a weirdkid. oh, the broken arm. i'd like to introduce you allto my old school friend roger.

one fateful july, roger becamethe coolest kid in school. it wasn't because ofhis shiny zubat card. it wasn't because his brotherworked at the bowling alley, which at the time, i thoughtwas the best job ever. it was actually becauseroger had a broken arm. i was so jealous. he got time off school. he had a special helper thatwould write out all of hishomework for him. people wouldeven draw on his cast.

which obviously i wassuper jealous of. so i decided that i wanteda broken arm like roger, but i couldn't do itto myself on purpose. i had to make it happen"accidentally". i put toys at thetop of the stairs, in the hope that i'd trip overthem and fall down the stairs. i climbed the tallest andflimsiest tree and hoped that abranch would snap. yeah, just appreciating thephotoshop on that one. even on my birthday, i blew outall the candles on my cake,

and my wish to thecake genie was, "please break myarm, cake genie." i mean you gotarespect that cake genie. sadly i never did break my arm, although i did break my hand ina piggyback race at university. turns out broken bones are alot less cool when you're 18. that is a reason whyi was a weird kid. let's see what otherstories we've got on here. oh, fish.

when i was six, i went on aholiday to portugal with myparents and my grandma. one day, she was watching meswim an entire length of thepool, underwater. that's what i look like wheni'm swimming underwater. when i came up for air she said, "oh phillip. i thinkyou are part fish." now, six-year-olds tend totake things quite literally. so from that moment on ithought it was my destiny to become somekind of superhero, fish boy.

yeah, watch out captain america.fish boy's in town. now everyone knows a superheroneeds some way to activate theirpowers. so when i got back from holiday,i went up to the tank of my petfish frank, and... ... i ate some of his fish food. yes. i actually ate fish food inthe hope it would transform meinto fish boy. didn't actually taste that bad. it was kind of like some cerealyou'd find down the back of thesofa. i'd eat that, over cheese,any day of the week. thankfully that didn't poisonme, but i never did fulfill myfishy dreams.

that is another reason whyi was a weird kid. must have room for one morestory on here. let's have alook. oh, moving away. this is an amazing philexclusive. i have not told thisone before on the internet. as a kid, nothing was cooleror more mysterious than someone who wasmoving out of town. where were they going?who were they? what secret missionwas their family on? it was alli could think about.

so i decided i wanted to bethat cool, mysterious kid. so i lied to all my friends andsaid i was moving to america. i said we had a house onthe outskirts of vegas. i said my mum... [laughter] i said my mum had gota job at the white house, which in my head wastotally near las vegas. although maybe obama hasa second white house, and that's where hekeeps all the ufos. there's a conspiracytheory for you.

so i was expecting to tell allmy friends and them to be like, "phil, we're so sad you'releaving. we've erected a giantstatue in your honor." turns out seven-year-olds aren'tthat sentimental aboutfriendship, because they were just like,"all right, okay. have fun. byephil." have fun? that's all i wasworth to you, roger? i was crushed. it's like a steamrollerhad run over my emotions. so obviously i neverdid move to america,

but i had to come up withsome kind of excuse. so i said that we'd been outthere for a month, but we had tocome back because the sun was toostrong for my pale skin. that's me after being outsidefor two minutes. it's a realproblem. although, i did come backwith a fake american accent. so i was like, "oh, howdy,guys. i'm back from america." that was better than the one idid earlier. i'm improving. but that is another reason why iwas a definitely-not-american, but really weird kid.

- phillip michael lester, youhave no idea what i have justbeen through. oh yeah, hey everyone. - hey. you got your legs back.see, i told you it'd betemporary. - right. i know you didtechnically win that last7-second challenge, but please just promise me no more magic - okay. no more magic. - thank god. right. so what were you guysup to while i was having fun? - oh, loads of stuff.

nothing involvingyour selfie folder though. - my what? wait. what wereyou looking at guys? - we were actually talkingabout why i was a weird kid. - oh, so you're going to be herefor like three hours then. i cango sit down. - no. we're done withmy weird kid stories. i thought we could getsome from these guys. - okay, sure. - check this out, dan. let'shave a look at our first victim. - okay, i see. we have our firstweird kid in the window ofshame. nice.

- yeah, and it iselizabeth, who says, "i used to tie my shoelacestogether and run down thestreet." - you used to deliberatelytie your shoelaces together? what is wrong with you? - i mean i know they saysnowboarding is an extremesport, but shoelace tying isa whole other level. - tie it. let's dothis. okay. wow. i mean i just have no idea whyyou would do that to yourself. - yeah. well, actually i did dothat to myself at school so icould get attention.

- wait. what?- yeah. - you tripped yourself up toget sympathy? phil. okay. - yeah i said itwas someone else. - they're all like, "aw." guys,it works. he got the sympathy. - it worked. yeah. that wasreally weird of me as well, but as i sympathize with it, i think we need to give these aweirdness ranking, out of five. - well, how weird iselizabeth's story? - i'm going togive that a three.

- all right. well, thank you,elizabeth. - well done. - okay. wow. three rotating phil childfaces, out of five. - yeah, definitely earned them.let's see who's next. - it's stephanie. - i used to talk to an imaginaryperson outside the window on thefifth floor. - okay.- what? - height aside, that's reallycreepy. just saying. - that's like somethingfrom a horror movie.

- it's like, "oh, hey there,stephanie. what you doing?" "talking to the ghost ofthe girl i used to know." ah! - although my brother did havean imaginary dog called lasagna. just putting that out there. - wait. an imaginarydog, called lasagna? - yeah, we had to put foodout for it. yes. - okay. you have justone-upped her. wow. - i know. but let's behonest, that's pretty weird.

- it is. - so i think i'm goingto give that a four. - a four for stephanie. allright. thank you very much,stephanie. - who's next? - abigail. - i used to pretend to eat mystuffed animals at night. [mimics attack ontitan theme] wow. when anime goes too far. okay. - all that's going through myhead is "toy story." think ofthe children. - oh my god. they go to akindergarten. it's like, "what'sit like being abigail's toy?"

"don't talk about nighttime!" hey, woody. where you going? argh! argh! argh!wow. - i mean you know... yeah, ithink that's really weird aswell. - come on. it has to be. - i'm going to saythat's a four. - yep. thank you, abigail.- well done. - all right. extremelydisturbing. - shadi. wait a minute.

- i used to have a crush ontimon from the lion king. i mean he is a pretty sexymeerkat. let's be honest. - right. yeah. i would.just saying. wow. the lion king. i have alwaysthought it was a gateway to thefurry fandom. i'm just putting thatout there, seriously. but hey guys, guys. this is azero-meerkat-shaming zone. you said you liked it. come on.we can't procrastinate. - all right. as we're notshaming someone for liking acartoon meerkat, i'm gonna give it a two.- thank you.

- well done. - you have nothing to be ashamedof. we all relate. next one. it is heather. - i used to lick ants off trees. - heather? what is wrong withyou? - that's horrible. - i mean i guess they mightbe quite nutritious. - okay, phil. pleaseexplain this one to me. - i mean you know some peopleare raised by wolves. maybe heather wasraised by anteaters.

- oh, that is obviously theexplanation, phil. - that's like a residualinstinct thing. - well, if anybody is sat nextto somebody chowing down on abucket of ants instead of popcorn, that'sheather, and it's completelynormal. - that's really weird. i'm goingto give that a four. - yeah, thank you, heather. allright. you do you, heather.okay. - yes. who's next? - and thurlene... - i used to melt the faces of mybarbies and stick them together.

- okay, you have one-upped theother toy story, seriously. i mean oh, my god. - that's horrifying. i'm goingto be dreaming of that foryears. - i'm just thinking of like atoy support group now. what arethey thinking about? - maybe they're just trying tocreate like the ultimatesuperhero barbie. - the super barbie. i'm in pain.please kill me. - let's be honest. judging fromeveryone's reactions... - i'm incredibly disturbed.- that's a five. - a five out of five. all right.well done.

- wow. i think that's anincredibly disturbing place toend our weird kids. - [together] thankyou, everyone. you have so much to be proud of. - i feel better about my weirdkid stories as well. so thankyou. - aw, well there we go. say, phil, where did you getthat weird magical button from,by the way? -oh, this?- yeah. - definitely not from kickingthe microwave and breaking it. - wait, what? what happenedwhile i was gone guys? what didphil do?

- i'm just going to goback here and fix... - fix?- nothing at all. bye, guys. - oh. bye phil. well, i guess it's just us then.hey, everybody. hi. i guess if phil did weird kid, ishould do something from myyoutube channel. let's see, we got mehere on this stage, you guys out therein the audience, oh, and a whole lot ofemotional baggage. am i right? am i right?

okay. okay. i think we'reall on the same wavelength. what should i do, guys? - [crowd] internetsupport group! - internet support group. i wasthinking the same thing. ohyeah. just one small issue with that.phil destroyed the internet,didn't he? so i'm wondering howthat's gonna work. [phone ringing] well, that's ominous. am i answering themystery telephone?

yeah. sure. what couldgo wrong, right? really? really? uncle dan's phone supporthotline? that's what internet...okay. sure. sure. this is happening.isn't it? hello? oh, sorry.sorry. speak up. hello? - hi, dan. my name is paulina,and i'm from california. - oh. we have our first calleron the phone support hotline.right. well hey there, paulina. what doyou want to ask your old uncledan? no. okay. that's creepierthan i thought it'd sound.

- my problem is that my god isshrek, and my parents won'taccept my religion. - really? that's how we'restarting this? okay. well, paulina, as you know,shrek is our one true green lordand savior, it is true. as they say, shrek islove, shrek is life. guys, we're on the sameteam here. you know what? i think, paulina, your parentsjust need to accept that sincediscovering him, it is all ogre foryou now. okay. there we go. good start. hello, welcome to thephone support hotline.

- hi, dan. i'm jay,and i'm from california. - jay from california. hey.what would you like to ask? - my problem is that i havethe same type of shirt, and it's all i everwear. please help. - okay. wow. like me and thatthing i wore in 2015. sameoutfit every day. well, jay, fashion advice. whenit comes to style, i say thereis only one rule. one color that solves everyproblem. what am i talkingabout? [audience] black! guys, i am so proud of you, yes!

jay, it doesn't matter if it'sthe same shirt. you just pile blackon black on black and if it ever gets too hot inthe summer, just don't gooutside. it's simple. thankyou, jay. all right. 1-800-crisis.you're on the line. - hi, dan. my name is alex,and i'm from california. - alex, what is your problem? - my problem is i've been in theanime pit for four years. will iever escape? - the anime pit. well, i justheard like 50 people go, "same."

our generation, man.there is no hope. well, alex, i think you justneed to accept that you are aweeb trash can, and you will never climb out ofthis pit like the rest of us. your life is over! okay! i'm just gonna putthis out there. this is usually the point in aregular internet support group where i'd have a little beverageto keep me going. you know whati'm saying? [llama noise] oh, not that thingagain. what do you want?

does that have a name? i feellike the llama should have aname. any ideas, guys? whatcould we call it? susan.very inventive. okay. carl? carl. phil. really? larry. larry the... okay. waita minute. wait a minute. okay. larry the llama. are you saying that becausethat's good alliteration? or because you're aone direction fan?

guys, we are not goingthere right now. hey there, larry, my fluffyfriend. what have you got backhere for me? oh guys, i think this is thedrink i was expecting. okay. this should make things easier.here we go. all right. non-alcoholic grapejuice? really? sure. fine. right, whatever.let's get this over with. [ringing] hi. - [sari] hi, dan. my name issari, and i'm from utah.

- hey. what do you want? - my question is, how do i avoidalways saying the most awkwardthings at the wrong time andcoming off as an idiot? - okay. spoken like somebodywho really suffers. talking to people is hard, guys.how do you make friends? what i always say is you shouldintroduce yourself to peoplewith a pun. seriously, it never goes wrong. you go up to the cool kids,hand them an ice cube and say, "ice to meet you,"

and then you just drop whateveryou're holding and walk away. the thing is, at that moment,they'll either just go, "wow," and you'll knowwhere you stand, or you've found your newbest friends. seriously. it works every time. thank you, sari. okay. - hi, dan. i'm samantha,and i'm from california. - samantha, hey. what wouldyou like to ask? - my question is, how do i ask agirl out that i really like?she's really pretty.

- aww. okay. - samantha, the answer is youdon't try to get real people because they canhurt your feelings. instead, you should just datefictional characters in yourmind. they will never betrayyou, seriously. i have been dating all of evanpeters' american horror storycharacters for months now. it's going really great. thank you, samantha.good luck. right. wow. this is my life.

- hi, dan. my name is sandy, andi'm a mommy from victorville,california. - okay. we got a parent. do we?okay. i'm going to need this. are there any otherparents here? how many mums do we have inthe audience tonight? oh wow. quite a few. hey, ladies. how youdoing? you good? well, you know what? you do notneed to worry about anything because me and phil, we aresuper educational, and we're areally great influence. right guys?

you do not need to worryabout anything, sandy. you have yourselfa lovely evening. don't tell them anything, okay? oh, got another one. sure. [loud music] john cena! right. i guess it doesn't matterwhether it's on a phone or backon the internet, you guys are justgonna troll me, huh? yeah, yeah, youlittle... uh, i mean... i mean...

i love my audience. thank you for coming tonight. - hey, dan. - oh. hi, phil. why are you inthe microwave? - well, i was thinking aboutwhat we do on youtube. - and about how creativeall of these guys are and how we should dosomething to celebrate it. - yeah. well, that's a niceidea. what'd you have in mind? - well, i found...

- found? oh, no, phil.what is it this time? - this.- um... - wow. well, that is definitelythe most fabulous trolley i've ever seen inmy entire life. wait, oh, sorry. or should isay shopping cart? right, yep. needto use the lingo. - i think it really sumsup my personality. - yeah. i think we'd allagree with that, phil. - yeah, well guess what? there'sone back there for you as well.

- really?- go get it. - there's one for me?- yeah. - okay. all right. i wonder whatmine looks like. let's see. dan's shopping cartlooks like this. would you look at that? it is literally justcompletely black. wow, okay. but it does have a huge d onthe front. there we go. d. i am not even going toacknowledge that. okay, right. so what do we have inthese carts of joy, phil?

- well, they're filledwith arts and crafts and things that theseguys have made. - oh, okay. so i guess you'resaying in this weird no-internetversion of things, this is kind of like the... - the tumblr tag in real life. - oh, no, phil. what have youdone? what have you done? - crafty corner. - things better not getlike dan and phil crafts, or i'm gonna start craftingin a minute. okay.

- hey, dan. hey, dan. pro tip. - phil.- i'm sorry. i'm sorry. - youtube comments have notrecovered from pro tip yet. you cannot bring that up. - hey. let's have a look at...- so what have you got? - i have... oh, dan.we found mel-apples. - oh, my god. oh, god. it'sactually mel-apples. - it's so good.

- okay. someoneactually painted that. - that is so well-painted. imean look at that detail. - i'm just gonna putthis out there. that is a lot better than theone that dill painted. i'm justsaying. okay. - i know. - we could put that up in ourhouse and live a bit of dill. - definitely. - or maybe not, as then maybealiens who come and abduct us,like tabatha. seriously. what isgoing to happen?

- that would be bad. but this is a beautiful object.- it is. - so thank you verymuch to catherine. - thank you, catherine. allright. that is beautiful. okay. let's see what i have first. it's a trophy for beingphil trash number one. ha ha. very appropriate. wow.it's got the whiskers. it says, "2009 toinfinity." okay. really? wow.

really? wow. i guess it'sofficial now, guys. - yeah. do you feel like youneed to do some kind... - thank you, jazmine.- thank you. - okay. hey. oh, great. - all right. so whathave we got next? dan, look at this! - wait a minute. - this is dan with kanyeand me with buffy. - really?- that's so good.

- those are so detailed.- i know. - i love how longingly i'mlooking at kanye in thispicture. i'm just like, "dad." i mean... i don'tknow what to say. - meanwhile, me and buffy arejust eyeing up the camera like,"oh, hey." - hey, how you doing? well, that is just anotherbeautiful piece of art that i am going to frameand keep in my bedroom. - [together] thank you, ray!- all right! beautiful!

okay. looks like we've gotsome more art now guys. let's see what it is. it's a beautiful canvaspainting of dan as shrek. - that is one of the best thingsi've ever seen with my eyes.that is incredible. - this must have taken so longfor somebody to actually make.wow. well, i well i mean, meanit's very accurate. this painting has nosoul. i have no soul. seriously. i wouldsuit being an ogre - you definitely do.

- is this what i've inspired?shrek fan art? really? - i know my place. this is justas great as the other art. thank you isabella. - oh, wow. i see your shrekart, and i raise you... a baby dil! look at this! that's kind of disturbingand cute at the same time. - i am equallyterrified and happy. - wow. i mean, somebodygave us a dil doll.

i don't really knowwhat to say about that. [laughter] - keep it going, dan. - i didn't mean to say that.okay. let's just move on. it's like a beautiful familyportrait, look at that. thank you for this.there we go. it looks like there's justone thing left in mine. - i will say, when you saidtumblr in real life, i thought, "oh, no. it's allgonna be creepy,"

but there have actually beensome really beautiful pieces ofart. haven't there?- yeah, really great. - so let's see what dan haslast. - what's this? - it's a whisk covered in memes. really? you give this? you have not seen whati have seen, okay? you cannot just bringthis back into my mind. this...i appreciateyour support. i'm gonna go erasethis from my memory.

thank you, sally. okay. i feel like that is a good timeto end this segment. okay. - wait. dan, dan, dan. there'sone more thing in there. - is there? what is it? - yeah. it's the pop-upbook of fan art. - whoa. phil. i don't think youshould have picked this up. - should we open it? - don't ask them.- okay. - okay, fine, whatever.

- three, two, one. whoa! - whoa. what is that?why is everybody naked? - what is benedictcumberbatch doing? - they're all ontop of each other. - is this legal? - phil, there's flaps.there's pop-up flaps. - i don't like flaps. - phil, we've comethis far. we have to.

whoa! stop. stop.stop all of this. you know what, guys?i take it all back. here i was earlier saying, "hey. we're stuck in thisweird no-internet universe. i think we should just stick towhat we do on youtube in reallife. after all, what can go wrong?" well, it turns out the answeris literally everything. - well, i hate to sayi told you so, dan, but i said we shouldtry something new.

you know? something like... - no, phil, phil. don't do this. ♪ whenever i'm alone... ♪ - okay, stop! stop. stopthe music. hey, hey. okay. i've got an idea. if microwaving your laptopgot us into this mess, then maybe the microwavecan get us out of it. - what? dan, no! dan, what are you doing?that could be dangerous. dan.

- bye, phil. - come back. dan.where are you going? dan! - well, this is weird.- oh. hey, dan. - phil? - what are you doing over there? - i don't know. what are youdoing over there? - oh. uh-oh.- i'm spinning. - this feels weird. - phil. phil, give mea hand. [grunting]

oh, phil. look at all thesepeople that are here to see us. - hello. why are they wearingsuch old-fashioned clothes? - who understands kids thesedays? right? are you ready? - yes. [grunting] - now for the hard part. oh. oh. - hello.- hello, everyone. - hello.- hello there. - hey. all right. here we are. let's plugour brains into the hyper-web

and get some questions fromour audience on pewdie-tube. ask me the question, old friend.- the question? - oh, yes. the question. can you do thewhiskering on me, phil? yes! here we go. - there's your nose.- thank you very much. - whisker.- one. - whisker.- two. - whisker.- three.

- whisker.- four. - whisker.- five and six. - thank you very much. right.let me do you. okay. there's your nozzle. one, two, three.- oh, that feels nice. - other side. four, five,and six. there we go. why phil, how many years havewe been doing this together? - oh, i think this is the 75th. - oh, 75 years. wow.

it's hard to remember after allthose sharpie fumes we inhaled,hey? - yes. i had a little sniffbefore we came through the door. - not in front of people.that's our secret. - sorry. let's begin. - time for the first question. phil, what is your favorite songthat is stored on your brain'shard drive? - i think that must be thecollaboration between thereunited one direction... - yes. yes. that's athing that happened. - and the robot mychemical romance.

- oh, yes. zane and metal gerard sing suchbeautiful harmonies together. - what a tune. - it's a shame though that nilehoran can't play his guitaranymore, ever since he transplanted hisconsciousness into that potato. - at least he's proudof where he comes from. - indeed. - let's see what's next. iphone 68 orsamsung galaxy 17,546?

- oh, phil. you knowi have to say apple or they'll shut down myicloud brain storage. - all my memories arebacked up there. - what is your favorite memory? - from my whole life?- yes. - i know. probably when ourbook, "the amazing book is noton fire..." oh. yes. yes.- hashtag spon. - can't forget that.very important. it went on to become thebestselling book in the entireuniverse.

- yes.- yes. yes, it did. why, even president beyoncehad a copy in her toilet. - oh, yes. what a wonderfulleader she was. - what is your worst memory? - probably when those alieninvaders banned all memes fromthe internet. oh yes, young dan wasvery sad that day. - oh, what a terribletime. poor pepe. - let's move onto somethingmore fun, shall we? - this one brings me back. phil,do an impression of yourfavorite animal.

- oh, okay. [noise]wa-ka-ka-kow! - what was that, phil? - it was the squirrel shark. - oh, yes. the squark.- yes. - king of the seas and thetrees, one may say. - ever since they startedsplicing animals together, ijust had to catch them all. - you're a weird guy, phil. ithink we have time for one more. - oh, yes. let's see. oh, you'll like this one buddy.

- really? - set your hip settings to twerkfor four seconds. - oh, i don't know. itsounds like they'd like us to. - shall we do it?- okay. - all right.- give us a moment. - okay. oh. okay. - right. three, two, one. here they go. i remember this sensationfrom back in the day.

it's like being young again. what? stop, stop, stop. phil! phil, what happened? - i think that was one twerktoo many, old chap. - i don't understand, phil.what are you saying? - i think i'm dying. [screaming] - no. no. phil, youcan't be serious. - at least i died doingsomething i loved.

- phil? phil? - nooooo! wait a minute. a microwave? no, no, this isn'tsupposed to happen. don't worry, phil. iam going to save you. here we go. and [grunting]. bloody hell. don't worry. i got this. okay. let's try again. oh.

you can steal a lotof cereal in one lifetime, huh? [grunting] right. into the microwaveyou go, phil. wait, wait, wait. wait a minute. can't forget these, can i?they were bloody expensive. and... [beep]. bye. [rewind noise] [beep]

- ah. oh my god. that wasabsolutely terrifying. - yeah, twerking to death?miley would be proud. - phil, you don't seem veryconcerned by what just happenedto you there. - yeah i know, but if that'sfashion in the future, i don'twant any part of it. - well, phil, don'tyou see? that was it. - what?- that was our future. - what's wrong with it? - nothing really, just to thinkthat we'll be doing exactly thesame thing

for another 68 years? i mean okay, i guessthat isn't a bad thing. but does that mean thatnothing else happens? we're just stuck repeatingthe same old things? what if we never breakthe mold, phil? what if we never find thecourage to attempt something newand exciting we've never tried before? are we all just slaves tothis predetermined destiny on a linear path throughtime and space?

oh, what's the point? - dan, no, you'regonna have a... [alarm] dan? - why do we exist?- oh, here we go. - what is existence? - sorry guys. hedoes this sometimes. i think we should listen to whatdan has to say, and i might aswell sit here. - if there's no higher purposeto life, then what's the pointin doing anything?

how am i supposed to care aboutwhat i do or what happens if at the end of the day we'reall just inevitably going todie? we are all completelymeaningless in the granderscheme of the universe. at the end of the day, it makesno difference whether we takeaction or justsurrender to oblivion. - right, that's enough. we've been through a lot and weall want to get out of thisstrange situation, but we can't lose younow, dan. we can't fix anything if you'rejust lying face-down on thefloor.

so come on.explain what's wrong. let's talk it out. - [sighs] - why are we here, phil? because i microwaved my laptop. - what are we doing? - trying to entertainthese guys, hopefully. - but what's the point? - because entertainment isdistraction from all theproblems in real life, dan.

we can make people laugh.we can make people think. drawing whiskers on our nosesand answering questions might not seem thatimportant to us, but to some ofthese guys, it is. - okay, okay, i suppose. i guess i just feel like mywhole life is laid out ahead ofme. i'll never try new things. i'll spend the rest of my lifestuck behind a screen, makingyoutube videos. i guess i just don't really feelin control of what's beenhappening here, you know?

[evil laughter] phil? what was that noise?did a weird thing happen again? [engine revving up] what's that? guys? what the... what was that? [laughing] - it's a car. - sherlock, everybody. yes phil, i think we canall see that it's a car.

but why is it here? - hey look, it's got thatweird question mark on it that keeps appearingon all the screens. - wait a minute. this was on theback of that bloody mysteriouscard earlier, wasn't it? okay, i see what's going onhere. well there is no way i'mgoing near that. - dan, this could be a clue. ithink we need to inspect whatwas in the monster truck. - okay. fine. - what is it?- they're scripts. - what do they say?

- oh phil, i don't think weshould have picked these up. - oh no. - guys? guys? do you know what? i have actually just decidedthat i'm fine living in thisno-internet universe. i'm just gonna go over here. - dan, dan! these weresent here for a reason. i think we need toread the scripts. - okay, fine, whatever.right. take this. this is a terrible idea.

- [female voice] inthe beginning... - in the beginning? i thoughtthis was fan fiction, not thebible. - okay phil, are you reallygonna question this? or just letit happen? - right, let's let it happen. - in the beginning, there weretwo boys named dan and phil. phil had jet-black hair,darker than the night's sky, and pale skin, whiterthan the purest snow. - hey! - hey what? i didn't writethis. it's true.

- and then there was dan, asobnoxiously tall as his sense ofhumor. - what? that wastotally uncalled for. - now, are dan and philpirates or cowboys? you decide. - wait, what? - you decide? does she mean us? or does she mean these guys? - oh no. okay, i see what'shappening here. - who wants us to be pirates?

and who wants us to be cowboys? [louder cheering] - okay. i guess we'recowboys apparently, phil. - dan and phil are cowboys. - nice. i might finally get atan. - really? okay. - open.- you open it. what is it? - it's cowboy outfits! - really? okay, sure, right.what do we have?

oh, tasseled vests. wow. it's like being in theymca music video. - hey, with this scarf, i couldlook like a fashionable dog ontumblr. - that's all i've ever aspiredto. right, what else is there? - hats. - yeah. thank you, phil. right, so are you ready to getinto character or whatever? - yes. let's read the script. howdy there, partner.sheriff lester is my name.

you're looking a little lost. is there somethingi can do you for? - [narrator] phil said. - you don't need tosay, "phil said." - you are not thenarrator, phil. - whoa. okay. smack down. - sorry, scary woman in the sky. - phil said, as he put a handtentatively on the revolver byhis waist. - whoa. ain't no need for thatkind of action, sir.

- we've had some strange peoplearound these parts, recently. how can i know you'renot a troublemaker? - i'm just a good, southern,christian boy, sir. you ain't gonna get no troublefrom me. i'm just looking fordirections. - where to? - where did dan and phil gonext? - uh-oh. - did they go into space? or didthey go camping? you decide. - okay. here we go again. whowants us to go to space? and who wants us togo camping together?

well phil, they chose camping.i wonder why. - dan and phil decidedto go camping. - oh. toasty. look outfor moths, everyone. - phil, please. that is the onlything that could make thisworse. right, i'm opening this one. - okay.- okay. what do we have? hey, wait aminute, does this work? alright, nowi can finally seeyou guys. hey. hey. how youdoing? in the middle, up at the top,how you doing? all right?

okay, wow.that is bright. i'm sorry. - hey dan. look at this. - whoopah! - okay. there is no wayi'm getting in that. - just go with the script. - as the glistening moon shonedown on the emerald glade, dan could only hear thewhispering of the wind blowing through theother boy's hair. - alright, who wrote thisscript, stephanie myer?

this seems like a niceplace to stay the night. you don'tmind sharing the tent, do ya? - why, not at all. don't you think it's special, being with another person, justgazing up at the night sky? - dan saw the warm breathevaporate out of phil's mouth and swirl gracefully towardsthe darkness above. - oo-aaaah. - gracefully, phil.- sorry. haaah.

- well, there's lots of thingsyou could do when no one else isaround, if you catch my drift. - why, what'd you have in mind? - what did dan and phil do next? - did they have adelicious cake? or did phil draw danlike a french girl? - what?- you decide. - well phil, i don't feel likewe're about to get a cake. - okay. it's up to you guys.

- who wants usto have a delicious cake? [mild cheering] - wow. really? that'show it is, huh? okay. who wants me to draw dan likea french girl? [loud cheering] - oh, okay. - phil decided to drawdan like a french girl. ♪ [titanic-esque music] ♪ - oh, i can't believe this.okay. let's just get this overwith.

this must be my sketch book. - great. if it'sokay with you phil, don't drop a bowlingball out of this one. - i'll try my best. - phil prepared his sketch book,and dan got into a comfortableposition. - okay. okay. sorry, sorry. what exactly is supposed to be acomfortable position for mehere? - you know, like kate winslet. - kate winslet had achaise lounge, phil.

okay, fine, whatever. okay. - phil gazed up at dan, in aweof the bounteous figure beforehim. - okay. thank you. - dan, i've never felt thisconnected to another person'sspirit before. - i want you tocapture me, phil. create a memento of thismoment we shared together, with a tribute to my body. - their eyes met, as dan beganto slowly unbutton his shirt. - whoa, whoa, whoa, whoa,whoa. okay, okay, okay.

can we just pausethat right there for a second? - oh, but i wasenjoying my drawing. - okay, guys. you know what?you know what? i'm sorry. i don't want to solve themystery. i don't care who'sbehind all of this. i just don't wantto do this anymore. is the person behind thisactually gonna show their facenow? [fog horn noise] - dan, something's happening. - phil, now is not the timeto do the robot.

- it's not me. - what do you mean it's not you? - i'm not in control of my body. - this guy, what a joker. [fog horn] oh god, phil, phil. it'shappening to me too. i think i'm possessed. - i've got a prop. - what? anotherprop? what is it?

- it's a bunch of plates. - a bunch of plates? but why? - should dan and phildo the dishes? or do the dishes? - do the dishes? what doesthat mean? phil? [plate smashing] well, that was dramatic.why'd you do that? - it wasn't me. - do the dishes.

oh, sorry. okay. i hit a bunch of you inthe face there. didn't i? i'm sorry about that. oh, no. oh god.- sorry! - oh god. i'm sorry. - guys, i'msorry! this isn't me. - do the dishes. do the dishes.d-d-do the dishes. do thedishes. - it's saying, "do the dishes,"but we're just smashing plates. who does that? - wait, phil. i think i knowwho's behind all of this.

- [together] it's dil! - dil, is it really you? - [simlish] - sorry. excuse me? - yes, it's me, yoursim, dil howlter. - right. okay. - but i don't understand.how is he real? - well, i guess if everythingelse exploded out of youtubeinto reality, then so did he.

except now dil has had the powerto control us like sims thiswhole time. - dil, is that true? - dil? - but i don't understand. whywould you do all of this to us? - because i've had enoughof being controlled. for over a year, i've hadto do whatever you said. - you made me clumsy. you forcedme to go on unsuccessful dates. you made me sleepin a clown suit. - all of that istechnically true, phil.

- i thought it wastime for some revenge. - dil, we didn't meanany of those things, and we tried reallyhard to fix everything. - i think we're just as clumsyand awkward as you are. - after all, dil, you are justsupposed to be the combinationof both of us. - i guess you're right,but it's more than that. i wanted to teach youboth an important lesson. - a lesson? what lesson? - dan, you're worriedabout your future

and if what you're doingnow has any importance. well it's important to me, and i'm sure to these guys here. never doubt yourself.follow your dreams. - wow. dil, what anice thing to say thanks for helpingwith my crisis. - and phil, you're scared thatwho you are isn't good enough. you think you have to changewho you are to impress people but look around.

thousands of people just likeyou have come here tonight to see two nerds from youtube. - it's true. it's true. - that's why they love you. - [together] aww! - dil, that's so profound. i don't need to be amagician to feel accepted. how can we thank you? - you don't need to thank me.just don't mess up myrelationship.

- [laughing] don't worry dil. you and teabag are togetherforever. oh, yeah. - dan, i thought you were goingto stop calling her teabag. - right, yeah, sorry. sorry dil. - and phil.- yeah? - stop microwaving things. - yeah, good point. - yes. i mean we'll tryharder dil, i promise. - but what now?

- i will return the worldback to how it was. just step into the microwavewhen you're ready, and you'll go back tonormal life with the internet. - wow. really? wellthanks, i guess. - where's he going? - huh? - i have no idea.let's just let him do his thing. - oh.- bye, dil. - bye dil.

okay. - well that was a thing. - wait. you know, i thinkwhat dil said is right. making these youtube videosmight not seem that important tome sometimes, but i guess to all the peopleout there that find happiness oreven friendship just through watchingwhat we make... well, that is pretty important. - yeah. you don't need tochange who you are to fit in. we're just two losers that spendall our time watching youtubevideos.

we could all be losers together! - yeah![cheering] you know what, phil? i guessthat is the point of all this. - well, there we gothen. end of the road. just head through there and havethe internet again. see ya. - well actually... there is one thing i've beenwanting to do this whole time. - i really hope you'renot referring to... ♪ whenever i'm alone,or if i'm feeling gray ♪

♪ there's one place i can goto brighten up my day. ♪ ♪ it makes me want to sing.that's how this show shouldend. ♪ ♪ but wouldn't it be good if icould sing it with a friend? ♪ - phil, i think you should haveasked before putting me on thespot like this. ♪ okay. fine. whatever.i'll join in too. ♪ ♪ i might go outside and feelmore alive. without twitter,where would i be? ♪ ♪ i guess i'd be fit. ♪ ♪ i'd stop posting shi.... ♪- rubbish! ♪ but tumblr's a part of me. ♪

♪ so many websites and so littletime. there's one or two youshould avoid. ♪ ♪ just don't stop watchingyoutube, or we'll beunemployed. ♪ ♪ the internet is here.the internet is great. ♪ ♪ when you've got lots offollowers, who needs a realmate? ♪ ♪ we might be antisocial,but these days, that is fine. ♪ ♪ because life is so much betterwhen you spend it all online. ♪ ♪ a place where you can beyourself, no matter if you'regeeky. ♪ ♪ find friends that share yourhobbies, even if they'recreepy. ♪ ♪ where any question in yourhead is answered in an instant.♪

♪ who cares if you procrastinateyour one shot at existence? ♪ ♪ without the internet,we never would have met. ♪ ♪ we'd never be here on a stage,doing things we might regret. ♪ - dance break. ♪ who cares if you're a loser,and everybody knows it? ♪ ♪ or if you spend your lifedrawing whiskers on your noses?♪ ♪ even if your chancesof getting tan are slim. ♪ ♪ or if you live vicariouslythrough life of a sim. ♪ - [simlish] chiltay zombo!

♪ we might be antisocial,but these days that is fine ♪ ♪ because life is so muchbetter, life is so much better,♪ ♪ life is so much better ♪ ♪ when you spendit all online. ♪ - come on, phil.let's do it. [cheering]♪ [music] ♪ - thank you, hollywood! - thank you! - you guys were awesome.

- hope you enjoyed the show. - we will see you guys backon the internet.

Monday, February 20, 2017

Friday, February 17, 2017

swimming pool diagram

have you ever wanted to learn how to do a graphghan? well today, this is a comprehensive video of doing graphghans using this pillow. welcome back to the crochet crowd as well as yarnspirations.com, i'm your host mikey. today we are gonna work on this pillow. this is called the catch a wave crochet pillow. but this is a complete graphghan tutorial on using this pillow as an example on how to do graphghans. so this is a graphghan tutorial. it's gonna be a comprehensive and probably lengthy and i'm gonna divide it into many different chapters within this one video so you don't have to keep clicking around. and in today's video. things are gonna be divided into steps. and ultimately you'll be able to do one of these in the end.

so we're going to review some steps that we're going to do from one to seven and let's cover what we're going to be learning in today's tutorial. step number one is to review the picture and the graph. step number two, yarn and supplies. step number three is how to read the graph. step number four is breaking down the graph for the bobbins. step number five is to review the color changing techniques that you should do. step number six is when you're noticing an error in your pattern how can you adjust. and then final

step number seven we're doing the final touches and dealing with the loose ends. so let's begin and step right back on step number one a of reviewing the picture and the graph. so in step number one we're going to look at the photograph and the graph that's been provided. this is a free pattern available on yarnspirations.com called to catch a wave crochet pillow. now what you're gonna look at is that you're gonna look at the lines. and regardless if it's this pattern or any other pattern that you're finding on line you wanna really want to look at the lines are being used.

so you can see that there's steel blue, there's cream, aqua and then cream and then steel blue and then there's cream again. so you're looking at the lines of your work. sometimes some of these graphghans the lines are so thin that if you were to try to do it. it wouldn't actually work out really well. so for example, the way the designer has it, this cream line actually is well defined. so you wanna look for that in this kind of pattern. you'll also wanna look at how many colors that the designer has used. so in this case there's only three different colors. so you're not looking that this is gonna be too complex.

now the nice thing about this particular pattern is that the designer has also provided it is a graph format. so you're going to be able to find the boxes and each one of these boxes equals ten. okay, so there are ten stitches across and ten rows up. so you kinda get a good idea when you're looking at something like this is that there's fifty-seven maybe fifty-eight uh rows in the height here and we have, we can to ten, twenty, thirty, forty, fifty and there's four there's fifty-four

boxes in the bottom and there's darker lines here so that indicates groups of ten. so that makes it a lot easier. so in this particular design the way the designer has presented it, it's actually a lot, uh, it's actually pretty easy to be able to follow along. so what you're looking for here is that you can see that the cream is here. you can see that it's defined by two boxes side by side and that's what's giving it the nice look on the actual pillow itself is that if this was just diagonal and there was one here, one, one and not and not doubling up it would not be a very good defined line.

so we're looking for things like that when it comes to doing the picture. so you have to review the in the graph and make sure the lines are not too complex, you're checking for the colors and make sure it's something that you think you wanna do. [music playing] in step number two we're going to review the yarn and supplies and we're gonna look right directly back to the pattern and we're just gonna look for how much yarn is gonna be needed. so there's only like three balls

of yarn needed, so it's one in every color. so steel blue, cream and aqua in the bernat maker home dec yarn. so you're going to notice here that what i thought was interesting is that the yarn the designer's asked for and the hook do not compliment each other. so if you look at the yarn ball label the yarn is recommended for a 8 mm size 'l' which is much bigger that this one. so this means to me that the designer has looking for tension and tightness. and i can tell you first hand that's absolutely fantastic

in this particular um, example. the reason for its nice and tight do not want to see that pillow form going through your project. so i can see that this designer has asked us to compress the hook so then you're gonna have tighter stitches to give a better every all look. so i'm pretty happy with that. also looking at the instructions, it's just single crochet and it just says to refer to the diagram that was provided. so the crochet chart that was provided. and the back is just made up of one panel you can see here.

it's just made up of one panel and then we're just going to single crochet ourselves evenly all the way around with three single crochets in the corner. so i'm looking at this, this is not a deal breaker for me. the hook size is a 6 mm, size 'j'. i'm looking at the looking at the crochet chart that's been provided to me. um, it a nice size on the paper so it's not so compressed i can hardly see it. so i think i'm gonna be pretty successful with this pattern. so you have to look up the yarn and supplies and determine the foam insert.

so what does it say for the foam insert. the designer should have provided that. and she does, so it's 18" square for the square pillow form. and i do say the designer is a she because it is a she that designed this pattern for yarnspirations.com. so let's move along to step number three on how to read the graphs. and that's the important point of all. step number three is how to read graphs. so some people argue that these graphs are only written for right handed people.

i can tell you quite honestly that's a false expectation. because even right handers we have to read it backwards when we're doing it every other row. and left handers are the same way. so it's not a big deal um, some people think that's true. so i actually put yarnspirations logo into a graph just like you see here. now there are free programs available on line. on thecrochetcrowd.com there's a link at the top of our, our main menu called graphgans and if you click that

i have several different links. some are paid services. in order to get stuff like this done uh, it's between five to ten, fifteen dollars in order to customize uh any kind of shapes like this. but other one's like this one here, it was completely free through the links that i provided. just because there's many of those and i don't want to favor one over the other i'm not gonna say which one i did this one on but i will say that this one is one of the free ones available on thecrochetcrowd.com.

so you can take any kind of pictures that you would like to do. um, i used to be able to do this in photoshop but the fact is, is that because graphgans are so popular these days there are services available and pretty inexpensive in order to convert one of your ideas into a graph format. but there are other types of formats available to you and i should tell you about that as well. now some of the services provide their graphing in a different format. so they provide you the graph but they also you a actual written, um, instruction list.

and some of instructional lists can be extremely long. for example there would be fifty seven rows of instructions if this was to converted over into line format. so how that one is done is that and there's certain companies that do this is that for example there's fifty-four boxes here. so it'll say, um, in there fifty-four with color (a) single crochet. so then all fifty-four color (a's) are in. the next row up are would be fifty-four with color (a).

the third one up would be fifty-four with color (a). and that's when the story starts changing when you run into the first set of colors. so it would be then instead of fifty-four you count the boxes. so 1, 2, 3, 4, 5, 6, 7, 8, 9 and 10. i wanna count that again 1, 2, 3, 4, 5, 6, 7, 8, 9 and 10. so it would say ten with color (a) and then it will say 1, 2, 3, 4, 5, 6, 7, 8, eight with color (b) and then it would have the remainder of the blue here with color (a) and give you the number. so you can just check it off on the list instead of actually having to count these just like i did.

it has it in the instructions. so even when you're turning your work back and forth the computer is calculating what that is so that your image will always completely line up. if i were to suggest one, that would the easiest way of the two to go instead of having me having to sit here and do it. however, there's usually costs associated getting a chart like that. so you know, once i start the pattern it's a very easy idea in order to be able to follow it. it's always just getting started. i think that's probably the hardest thing. so let's begin to um, what do we need to do, how to read the graph from this point forward.

so let's learn how to read these graphs. so the designer says to start here. even if your left handed or right handed we start here. and he designer in the instructions has given us a clue that in the very first set of instructions it says chain fifty-five and then single crochet second chain from the hook. this um, will, that will be only fifty-four. so you see in here there's only fifty-four boxes between here and here. so as a right handed or a left handed

it doesn't matter. we start here and we work our way across with the instruction. okay, so we just go all the way across and then we stop on the other side and turn our work and then on row two we're just gonna come across and follow the instructions all the way. so do you see what i'm saying that you don't need to be left or right handed you're just following the instructions as you see fit.

okay so you have to turn your work and then go back. so then step number three, you turn your work again and you work on this set of instructions going all the way across. so i can tell you by right now then, step number four on the other side of here is going to start running into these boxes here. so then i'm gonna physically have to count the first sets so 1, there's ten i believe and then there was eight here, so i'm gonna

single crochet the first ten in the steel blue then i'm going to bring up eight of the cream and then steel blue all the way back. so you just have to snake your way up and down these graphs in order to work. even if it's the yarnspirations' logo just like you see here. you will start on the one side and it doesn't matter which side you start on as long as you start on one side. [chuckles] so you start on one side, i could say i'll start here and then i'm gonna work my way across

and then when i come back i'm actually gonna run into the yarnspirations yellow color. so 1, 2, 3, 4, 5 will be that color this white it'll be 1, 2, 3, 4, 5, five and then 1, 2 and then the rest is then again then white. so you can just follow it back and forth. so it's coming back and then i just jump it to the next instruction on row number three and go back and you'll see that i'm here. and i just physically count it. i have my gaping spaces and et cetera and i'll be able snake back and forth. so as long as you know how to snake back and forth you're always good.

in step number four we need to break down the graph that we have and create little bobbins bobbins are a little ball miniature ball based on the big ball. so what we have to do is that in this particular design and i'm gonna explain the difference of doing it this way versus other ways here on this particular video is that you need to create these bobbins. how many are you going to need. how big these bobbins be. well sometimes the question is actually you just have to eye that out for yourself. but i'm gonna give you some tips and ideas because we have to figure out how many bobbing that we're going to need and what exactly are bobbins. i think that's one of the biggest questions that we have

when it comes to all this graphghan work. so let's cover what is a bobbin and why do we need it. so here we have the graph again and we are going to look at the bobbin work. how many bobbins are we gonna need and why do you need bobbins. well there's different ways of doing graphghan work and it depends of your application. so the first one that is not done with this particular pillow is one where you add and subtract the yarn in every line that you go or you just kinda bunch it up and let all the tails hand out on the one end. and so then the other side though it appears perfect the back end appears a mess

so this would not be an afghan that you could turn around really kind of safely without this kind of mess being shown. so this is kind of done in a way of carrying yarn back and forth without physically, so you can see that the um, aqua was carried over and then it was carried back and you can see that. and i intentionally just did it in a way that it would always stay on the none side. so that's one of the options. for this particular pillow what can happen though is if you leave these tail ends coming uh, you know just the way the application of use of the pillow you could have these tails uh, start to peek through

certain areas when it's resting against the foam. so this is not how this pillow is done. so with the bobbin format you have it like this. okay, so it's reversible and you're going to notice errors on this particular swatch because i intentionally done that because i wanna show you what not to do later on in this tutorial on changing color techniques in step number five. so but you can see here there is a total of three bobbins. one bobbin was used on one side of the yellow. then there was a blue bobbin and then there's a yellow bobbin on this side.

so what i can do for you is that in here because i new i needed two bobbins here that one was actually the real yarn ball, one was a miniature yarn ball on this side and then there was a blue from the original blue ball there. so when you have multiple changes of colors especially in the areas you will have multiples of, of bobbins hanging out of hanging out of your work at one time in order to achieve the work. and you have to determine, so you got big white areas here. so i would want that right from the ball itself.

versus making little miniature bobbins that will always run out and then i would make like miniature bobbins for like the cream that you see, the cream or the white what ever you want to call it. so this is kind of an idea on to do that. but how do you look at the graph and determine what bobbins you are gonna need. well let me show ya. so let's look at the breakdown of the bobbins. so we look at the wave here and what are you gonna do. so we're gonna just blow up the wave area here

and determine how many bobbins that we're going to need in order to do the wave. now the wave is actually kinda interesting. because the wave consists of three bobbins for aqua. how did i know that? so in actual fact it's really quite easy to tell. so if you've ever thought about fill up a pool. okay, so let's for example let's fill up the pool.

we're starting with the aqua down here. okay, it doesn't start up here yet on this side and you fill up the pool and all of a sudden you get to the top level of the pool. so what's gonna happen is that according to this that the pool will explode and over flow this direction and will over flow this direction. the problem is, is that once that happens and you hit a space like this this yarn of the pool

of water, this side does not share the water on this side. so in actual fact one of the bobbins will continue to go up wether it's this side or this side and it will continue to pool up. but in order to pool up the other side you need another bobbin to carry that color up through the other side. so this would be one bobbin and it will just either pool up on this side or this side or this side. i don't know that until we're gonna get to right to the project. but you can count on that because you can't have one to do all that. also looking at this side here

again the pool of water, it's pooling up here right, but it cannot get over here and this one's gonna start so you're gonna have another bobbin here. and the water is gonna pool up, up, up, until both of them are the same height because you're working in complete rows. so once both of them are complete height just like so. what's gonna happen is that one of these bobbins are going to finish, so one of these is gonna carry up and finish. okay, so then you will not have two bobbins any more it will just be this one or just this one that will carry up

and finish doing all of the remainder right here. so for the blue, if you were looking at this graph for this example, so let's pull up the other graph and let me show you that one. so with the blue, same concept. so look at it like a pool of water. so the blue is filling up to row number three and all of a sudden we hit a block. so the water is gonna overflow in this direction and it's gonna overflow here. so we know that we're going to need a bobbin for the other side of the project.

so when we look at it from this perspective is we have to think about that. and let me see if i can get another graph just to show you. so here we have my other chart done and this chart has the lines across just for illustration purposes. i don't do it like this but i want to demonstrate it like this because i think you'll understand it. based on the pool of water, of filling up the water of the pool we're filling up with steel blue and all of a sudden we hit this cream. so we know that the water has to fill up this area here and all of this.

so then you're gonna need two bobbins in order to complete this bottom level of the pool so of the, of the wave really. so what i try to recommend is that this whole big space here is actually from the yarn ball its self and this is the secondary yarn of a smaller ball in order to finish that area. the beautiful thing about this one here is that this one finishes right here before the blue picks back up over here.

so i don't need all these lots of little balls. i can continue to work with bobbins and continually use them. so you can make a fair size other than this size. you can make a bigger one. sometimes people use the, the inside of the yarn ball and the outside string of the same yarn ball when they have to use two different strands. and basically that saves them from making bobbins. so we can see that when we look up there's easy ways to tell.

but i wanna show you another technique in order that i'll also how i determined this as well. is that you can simply put a piece of paper on the bottom, okay. and you can just simply just follow up the boxes. and all of a sudden you will run int the colors.so you can see that you're gonna run into the cream at some point and so there will be a cream bobbin there and all of a sudden the next row there's cream and there's another aqua.

but what's gonna happen her, look the cream is going in like a pool of water. it's pooled here and it's going in two different direction. so one bobbin i gonna go in this direction and the other bobbin is gonna go in the other. and you keep doing that until you can kinda physically see what's going on. right? so then you can see on this side the white is started here so you'll need another bobbin for that point

this one still continues. so we're gonna continue to going all the way across. so let's test you. i'm gonna show you something and i'm gonna test you to see how many you think you're going to need. okay, the answer's on top of this page but i'm gonna ask you in row number nineteen with the red line. how many bobbins are you going to need? how are used? and you follow that line

going up all the way across. so you're going to have the blue. you're gonna have a steel or sorry cream, aqua, cream, blue, cream, aqua, cream, blue and then cream and then blue. so you can see on this particular round or row which does not happen that often you are gonna need a total of eleven bobbins in order to complete this row. the wonderful thing about this is if you look two rows up you're gonna suddenly get rid of the blue on this side here. so there that's gonna be finishing

and you'll see go one more row and then this blue's finishing and so something especially in this design is always starting and stopping. so i think if anything in this particular pattern what's gonna um, where you're gonna have the most tangled up area is right in the middle section, right here, okay. so just right here. because you gotta a lotta yarn, the colors working at one time.

so one thing that i loved about this particular pattern is that the designer has not over inundated and made all of these colors all over the place and so concentrated in the section here and then once you get to row twenty-nine you're basically just playing with steel blue, creme and cream. and that seems like that makes a lot of sense to me. but let me show you another technique of what the designer's done to save on bobbins. because right here i learned a lesson. right here and here when it gets really thin. let me show you that.

so i noticed something in the designers example because i have the, the sample here that the designer's done and i noticed something. and i noticed that right here, whenever there's two boxes of a different color and the color is the same on both sides they've carried the color underneath underneath the yarn. not behind it but underneath and i'm gonna show you that technique here. so i noticed here all in this tip area the white bobbin here or the cream bobbin

is actually carried underneath so it's going all the way until it hits to this spot here where there's three. and therefore this is a separate bobbin from this. okay, because this white kinda carried up on this side. so that's where we have to pay attention to um, on these kind of concepts. and right here again the same concept. is that when it became two, one and one and one the designer, what she's done is just carried this cream through this area here and so it's just, it's just a way of saving space.

i have to say you can't even notice the difference of it being a separate bobbin versus carrying it through and because of that i think that it will speed you up. especially in this area because you have like 1, 2, 3, 4, 5, 6, 7 and 8. there's eight rows that you do not have to worry about really making a separate bobbin and switching our yarns and making it harder for yourself. you can just carry it through in order to get it done more successfully and i thought that was a pretty cool tip.

so the final tip with these bobbins. okay, so, you don't make enough of them or you don't have enough of them. you know the reality is, is that you're always stopping and starting the yarns anyway so even if you run our of a yarn ball, like a little bobbin mid way through. adding a secondary one is not a big deal. i recommend that you either add it where it's starting. not in the middle of a line uh, like the middle of instructions. so if you run out of cream midway through just subtract out to the beginning and start it there instead. but this is a great way to be able to do it and because it is graphghan work

where you dropping and adding yarn all the time you will not notice if you have switched bobbins at any point in order to do it. so just be generous and just make a few of them for yourself and it's a really great concept. in step number five we going to review the color changing techniques on how to hide your yarn and et cetera. so i've divided it into seven different lessons. one is to know your limits. two is to add a bobbin. three, finish your bobbin.

four is to carry yarn underneath your work. five how to move yarn up in the rows. six is how to carry your yarn back when the boxes are not the same. and seven is how to carry your yarn forward when the boxes are not the same underneath. so those are our lessons so let's begin with knowing your limits with lesson number one. in lesson number one we need to know our limits on what we are actually capable of doing when it come to doing these graphghan kind of work. so you're going to notice here up close, you can see that it's not a seamless line, it's not a perfect line like it would be like it was like a graphic

and et cetra. it's always like a dot matrix printer of the 80s or early 90s. and so you're going to notice here in the graph in a similar kind of way its all done in boxes. but you're going to notice there's a similarity on how these look. so for example you see that the white is kind of protruding a little bit into the wave and then if you follow that across. so it's protruding a little bit into the wave the blue protrudes into the white on the other side. looking up on the next one here is that the blue protrudes over

and then it finishes just perfectly on this side. so you're going to notice this in this particular example. but let me show you a pillow we did earlier this year. the tutorial is also available on this one. this is the block angle pillow. so you're always going to notice that on one side it looks completely perfect and on the other side it always looks like it's jagged in. but i will tell you, you flip this material to the to the other side and all of a sudden this side will look like this

and this side this looks perfect on this side will look like that. okay, so this is one of those capabilities that you will never end up with a line that is perfect like all the way around the shapes. always, one side has to give. and so you will notice it here on this pillow. so when you look at this side here you will notice that on one side here the white is kinda jagging in and on here is like there. so you have to understand what you limits are when it comes to these kind of things.

so if you're looking for picture perfect and all the lines to be all like this you're in the wrong space. because with graphghan work that's not possible. so let's begin preparing so that i can show you how to do all of the color changing techniques. so this particular example plus most of the examples that you will find with this kind of work on line is that the first line never has all the changes. one line is always completely solid. so if you're doing the pillow you're going to chain fifty-five in order to get started and anything and then anything else you're working on you're just going to just chain what it suggests. so if you're doing this in box format and your shape is just

um, sitting on a graph, make sure that you're just adding one for extra because you're gonna have to single crochets second chain from the hook. so you're just gonna continue to do that all the way across, second chain from the hook. so let me, how many counts, chain. [chuckles] let me count how many chains this is. is 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12. so i know second chain from the hook i'm gonna get the back loop only and i'm gonna work my way backward over the, over row. and i'm going to have this line be established as completely blue. so because i had the, the first number like i did

i'm just gonna be short one by doing second chain from the hook. so that's why you do no see fifty-five boxes when it comes to the graphghan because the reality is that um, you had to go second chain from the hook leaving you with only fifty-four. so let's carry on and let me start you with how to add a bobbin next. so here's an example of the going dotty hat. we have a tutorial available on this one here. and this is using a technique that is not in this pillow. and what we have here is that we have the going dotty dot here

but do you notice you can see the fluorescent through the yellow? so this is a technique where the yarn is hidden underneath the stitches. so we do this in the graphghan work for a maximum of two boxes only. and it's not a big deal but when you carry such a long way you can physically see these stitches. so if you look inside the dot itself you can see fluorescent yellow is kinda visible there as well. this here is not gonna give you the true look of what this wave is gonna do and look and sometimes this bothers people.

so this is a technique that done but is not highly recommended all the time. so let's show you the technique of adding bobbins. so i'm about to start another row and we're gonna need our bobbins. so when i go to start this one i know i'm gonna but yellow in the middle somewhere and i'm gonna end up with blue. there for i need another blue one for the side here. so this string here is going right to the yarn ball and this is a secondary right in the middle. so i'm gonna start off by chaining one. we're always gonna chain one and then you're gonna single crochet

for the amount of boxes that you need to go all the way across. so in my case i'm just gonna go three. but i'm not gonna finish the third one. so any time you're gonna do a color change you do not finish this stitch. so you yarn over, pull through, like so and then you need to pull the next color. so i have to show you something before we begin to do that. this loop here is the the one that sits over top of the next stitch.

so if this loop is blue and for example let's say that i change the color now. i'm gonna show you why. let's say i change the color now and i pull through the yellow now and then i finish the yellow now what's gonna happen is that the top of the, this stitch has blue and not yellow. so what we have to do is that we have to change this color prior to finishing a stitch. so let's pull this back out and let me finish the third one

and i wanna show you so hopefully that just proves that to you. so we're gonna go in, pull through, do not finish. lean this forward so pull this forward. this is an absolute must, that's not negotiable, don't even argue with me. pull it through forward, okay, and take up your yarn, i don't even know why i said that. take up your other yarn and pull it through and you're just gonna finish it. okay, do not have any slip knots or anything on this yarn. and let the straggler fall in the center

or like in the front with the other blue one there. then go into you next stitch and begin to single crochet. but here's what i would recommend. this is my tip. see how this is hanging out? i would recommend leaning it over top and just crocheting right over top of it. it's the same color as what you're about to use. so you can hide that in effectively. and therefore not have to weave in that in later. okay?

so that's a technique of being able to hide in your yarn tails. so i'm gonna switch back to blue in the next one. so i'm just going to let this fall forward, out of my way and i'm gonna start the next one and pull through and all of a sudden i look at it and say, okay, well, the other blue one was sitting over here i don't have a blue one here. so this is where the other one comes into play. and i want you to pull that yarn strand through,

so just loop it through, finish that stitch, let that yellow come in front with the straggler in front and go to the next stitch and do it, like so. just pull these forward. just see how i just kinda pulled it tight? and i'm gonna go all the way to the end of the line. so by the time you get all the way down here all the yarn strands that you were playing with should be on the front side.

so these are all accessible. so the only difference here now that i've burried that yellow one in there i can safely cut that. and i don't really need to worry about it. okay, you can use a darning needle too if you wanted to hide that. now this blue one, the way that i did it. i did not hide it so i would have to go in and secure that with a slip knot or sorry with a darning needle or what i can just do is do exactly what i just did with the yellow.

put it up over the top and finish it , sorry about that, and just finish this row with that underneath and hide it into position. so that's a technique of not being able to have to worry about so many yarn tails at the end is if you can bury these starting when you go to do this it make a lot of sense to do that, okay. so that would how you would start a bobbin if you would like to do that. and so what's gonna happen now is that the yarn strands the you're playing with. so you got the blue one here,

here, is in the front, this yellow one where we were is now in the front and we're ready then to turn out work. so let's just turn our work quickly and just single crochet ourselves across. okay, and i'm coming into the next one but the problem is, is that the one i want, the next one is yellow. so what i wanna do is pull this one forward and get my new yellow one back up

but here's what i want to show you. when you pull it forward like this, you're gonna finish it and your first stitch in, okay, is going to be into the yellow one, okay, so make sure this yellow one is in the front. but i want you to go around the same strand that you just pulled that you just pulled up. so in the back, do you see how it's a long line going up? if you do not go in behind that what happens

is that it looks like it's out of place. so you wanna go in the stitch but also in behind there just turn it back to the way you were looking at it and just do that as a regular single crochet. so what happens if you don't do it that way. what happens is you end up with a line, see this yellow one here. it looks out of place comparison to the stitches. i did the same with the blue intentionally here and so then you end up with lines that look out of place.

so it's just a way to be able to do that. so now when i turn it around see, you don't see those lines crisscrossing at all. so you can just continue to go back and forth. okay, so the trick really is, is to watch the yarn as it's going up. so the next one is yellow because i see it but i wanna switch to blue in the next one so pulling the yellow forward grabbing the same blue that in behind. same technique, pulling it through to finish.

going into the next blue and just getting behind that string right there and just pulling it through. honestly, once you start doing this that looks inconvenient but it's actually not a big deal at all. so you basically can enjoy that. so this is would be how you start a bobbin and this is kind of an easy way. you see nice clean lines and it's a great way to go.

remember what we said about knowing your limits. so one side looks like it's further over than the other side and that's the same technique of what i showed you with the wave. is that one side is always gonna look like its protruding into the other because that's just the way it is. so this side looks like perfect and this side's a little jagged. and it all depends on which side of the project you're looking at because the other side is completely the opposite. so let's move along in this tutorial and let's how to finish a bobbin. let me show you the technique for that.

so lesson number three we're gonna learn how to finish the bobbin and i'm gonna finish the yellow and i'm gonna finish the blue at the same time. so i'm just gonna chain up one and i'm gonna go in the first stitch and what i want to do is say for example there's nothing more for me to do here for the yellow. it's done, you got the straggler now hanging out of the back. what i would do if i were you is just coming in get that yellow up underneath up over the hook just like that, pull through and what i would do. i haven't even taken it from the yarn ball off. it's still on the yarn ball.

and what i would just do is go under some stitches sorry, just put it under some stitches and its hiding. because it's the same color as the row below you're not even gonna notice its even there. okay, and i'm gonna go until i i'm satisfied with that. so now it's stuck underneath. you can't even see that's it's gonna be finishing. and then all i can just do then is that i can just trim out that yellow now and get that out of the way. so just let me get my scissors out.

okay, so yellow is now out. and the blue, so i have a blue bobbin that's coming over that was on this side that's now coming over to this side. therefore this side of bobbin is redundant, i do not need it so all of a sudden i'm just gonna do the exact same thing of jus burying that strand of bobbins over and i'm gonna eliminate that bobbin out. so really the bobbins have kinda switched sides. so i'm going right to the end. again just burying that right underneath the stitch work.

okay, so it will be hanging out the end of the project just like it is now. and i can just safely just cut that out. and now i'm back to one strand. the bobbins are finished. and you can see that it looks pretty decent. so that would be lesson three of how to finish your bobbin let me show you how to carry yarn underneath your stitches if you have two or one box only to fill. let me show you that next. so in the next lesson i'm gonna show you what happens if you have a particular area of your project where there is not a lot of boxes

and you don't really need to waste and create another bobbin. so right in the tip here when we had when there was two or one box. one or two boxes left and right here we can actually carry this cream underneath the yarn instead of creating two separate bobbins. so let me show you how to do that. so we're about to do that tip of that wave. and so i'm going to do it in the next one so i'm not gonna finish this stitch. bring it forward

get in the habit of doing that. grab your next string and pull it through. so here's what i want you to do technically you would have pulled this forward and left it out of your way for next time. but i do not want you to do the. i want you to keep it up underneath the, the work so that when i when i put in this hook that yarn is still under, it's still there and it's gonna trap it. so let's just do two boxes for the sake of argument.

so i'm going up over the straggler too so that it's gonna get stuck into position so i don't have to worry about that so much. and i want to now bring back my yellow. or sorry, bring back my aqua, and i'm gonna pull that up onto the hook so that i have two of these. and so instead of me having two separate bobbins of this i can just physically just use one. i'm going to pull my stragglers of yellow you're still gonna do that and pull that forward

and i'm just gonna finish. so instead of having two different bobbins for aqua, i only have one and it's being traced up underneath. and i'm gonna show you this again. so i'm gonna turn my work, chain one, one single crochet and i wanna match exactly where the yellow is. and just to prove that point to you so instead of having two bobbins of aqua i'm carrying it underneath. so that's exactly like that going dotty hat was.

so we're just carrying, because it's such a short distance you really can't notice it that, that, that much. so again, we're gonna leave this yellow or aqua down. we're bring the yarn strand that is leading to the bobbin of the yellow to finish. we're leaving the aqua right where it is and we're going right over the top of it for two. remember that we cannot finish that stitch so then we're gonna bring the yellow and bring our aqua back up and finish it with the aqua

just like so and then we carry on with the aqua again. so that's how you would do it if you were to carry yarn underneath like so. depending on your project like, if you have very similar colors you can get away with doing that without it being like that florescent yellow and uh, colors that we worked with. so that would be how you would do that. and because this is only two stitches i would actually take a darning needle and finish this particular item off. let me show you how to do that. so i'm gonna show that right here. is that i would take my darning needle.

so slide the yarn into the darning needle and you just wanna safely just go up underneath. so if you go into the same hole that you're working with you're gonna undo it. so you have to kinda just shimmy this into position without it appearing very obvious. and if you go into your work back and forth three times you will never see where you stopped and started. okay so just be very careful, keep in the same colors

so if you're working with yellow and you're hiding in yellow just make sure you're, you're doing a good job with that. and back one more time. okay, and that would be how i would hide in that yarn. and that's kinda tied into position now and now i can safely cut it back down. right there. so this would be how you would carry yarn um, underneath it instead of actually having a separate bobbin

for both sides of your work. let's move along your next lesson of how to move yarn up in a row. okay, lesson number five. how to carry the yarn up in a row. we kinda already talked about this when we added the bobbins. but we are just going to single crochet ourselves across and we're gonna carry the yarn straight up into the next one. so the next one will be yellow. okay, so just straight up.

okay, so we wanna match. so remember we cannot finish this stitch. we have to pull it forward and we have to grab the yellow. but watch what i have to do. i you grab the yellow and do it wrong. what's gonna happen is you're gonna have a stitch that's out of position. do you see these? okay, see how they're really obvious that it's out of place? i did that on purpose just to show you. okay? so you have to be very careful when you do this,

is that you're gonna pull this yarn forward, you're gonna finish is with the yellow but if i turn it around see how you see that one string is out of position. so when you go across into the or go into the next stitch you also want to jimmy it and just get in behind that string as and pull through. and what that will do is it'll pull that over so that it matches your work. okay, so that's how you would carry it straight up. and now the next one here

i'm going to just carry this one over and the next one i'm gonna do, i'm gonna bring back a bobbin. so i'm gonna finish. i'm gonna do a partial of the yellow, pull it forward and i'm gonna grab a bobbin and bring back the blue on this side because i'm gonna that for the next part of this tutorial. so pull through and let the straggler fall down in front. i let the yellow fall down in front. now because i'm going to be using blue i can just leave that blue underneath

so i don't have to worry about weaving those tails in. make sure that goes a little bit of a distance. i think three is a little short to do that technique. but just that's a concept that you can have. so people ask me all the time. how do you keep these from tangling. honestly you just have to stay well organized with these and to make sure that um, you untangle as you go because you can end up with a real rats nest really easily. so let's just review that one more time. we're gonna chain up one

and single crochet until we hit the yellow and we're gonna carry the yarn straight back up. okay, we cannot finish the one because the next one's gonna be yellow, pull this yarn forward, grab the yarn of the yellow and, and pull through . and again, see that line is gonna be very obvious to you so when you go into the next stitch you go into that stitch but just jimmy it to get behind that other one and that will trap it into position and then finish it. so that's just a great little technique in order to,

to do that. so the next one's gonna be blue. let's pull that one out of the way. pull the blue. same thing with the blue. you'll end up with that line. okay, that's out of place so just going into the next stitch, make sure this one is in, out of your way first. okay so going in then just jimmy it behind that string and then single crochet the rest. so that would be how you would carry yarn up through the rows. the technique is just a make sure that you get that carry yarn

and kinda just kinda hide it into position behind a stitch. like so, i don't know if that's technically, um, i don't know if that's technically in the rules of doing graphghan work but for myself that's how i avoided that because to me that line when it look like that i don't see other peoples projects look like that so i think that's how i figured out how to do it for myself. so let's move a level up. we're gonna do what happens when we need to carry the yarn back when the same color is not underneath. let me show you how to do that. in session number six we're gonna learn how to carry the yarn back when

the color in the boxes are not matching. for example this one here what happens is the yellow is actually starting here. okay so it's starting early before this one here is ready. so if you turn it around and i just turn it around you'll see that it will come straight up but all of a sudden it will start early therefore the yarn is gonna go over here in order to start. so in my particular example, this is a great example. see how this one here the blue started later. okay?

so what happens is you end with this carrying across string and there's a way to be able to go back and forth like this without having these massive strings hanging out of your work in order to do so. so let me show you how to do that. so this is carrying the yarn back when the boxes don't match. so let's carry back three of the blue with this yellow. the yellow is coming up here so technologically it's only ready right for this area. so let's just chain up one

and we're gong to single crochet and i wanna do the, the next the three blue before. so i'm gonna finish this one here. pull this yarn forward. now the yellow is gonna come up all the way back to where you are. and let me show you. i'm gonna finish this with the yellow and you're going to see that carrying across string. okay, do you see it? you're not gonna deny that.

so that's gonna end up being one sided it you don't deal with it right away. so what you have to do is keeping that blue out of the way in front of you. what you have to do is that you have to bury that underneath your work. as you go into the next stitch you're gonna go into that stitch but keeping that string on top of the stitch you're going to single crochet and what's gonna happen is that you don't want any tension on this by the way.

you just want it to be tight but not pulling on it and you wanna single crochet right up over top of that. right to the very one that begin the next one. begins the next yellow. and so therefore the string has just moved over. let me turn this around. so therefore the string has moved from here to here and you barely notice it. okay, does that make sense?

so then i'm gonna finish this row so bring this one forward. bring my next bobbin forward. okay, again the same technique of just going in okay, jimmy around. so did you notice i did not jimmy that when it came over here. you did not need to do that because you're not right over the top of the stitch that you're trying to match. okay and i'm going to single crochet myself to the end. okay , so let's try again for ah, this yellow. so this time i'm going to start the yellow so that it's over

one early. so let's begin to do the blue. so i'm just gonna start the yellow one earlier then right up over top same rule exists. so bring this forward, bring the yellow up and over and again that is going up on an angle that you can see and all you just wanna do is go up underneath the next stitch making sure the yellow stays on top of the hook and then you just single crochet right over top of it.

and therefore, see it hides it into position. so it's a great little technique in order to happen. so for example say i wanted the blue then to be third one over, again i'm going to or third one over. let me not finish that stitch so i can do that. i'm just gonna take the blue one, pull it up, over. okay, again you can see it going on a massive angle on the back

so when i go into the next stitch keep that on top of the row so that you can trap it right under these stitches so that it doesn't appear. so going right into the next stitch, okay, go right into all of them until you get to right above it and then you can finish it. so that would be how you would carry your yarn forward if its not ready for you when you need it. so that's how you would do it in that way.

so therefore you kind of shift back and forth without ever having to change your yarn and you can just hide it underneath. so let's move along to step or sorry, lesson number seven. in lesson number seven we are going to think about what we need to do when the yarn starts later. so last time we had it so that the yellow was starting earlier and so we carried yarn up underneath and so that we were, we were ready to go and so that we could do it right away. this time what's gonna happen is we're not gonna start the next yellow

until we hit to the fourth over in the yellow. so what's happening is that the yellow is here but when we do need it it's over here. so what are we gonna do in order to make that happen. so we're going to chain up one and single crochet into the first one and right when you hit that yellow one, okay so go right into the blue. okay, right when you hit that yellow one

i want you to bring that yellow up like so and just trap it underneath so when you go into the next stitch go up underneath it and so that it's right over top. so you're gonna drag it with you. okay, you got no tension on that thing so it's not gonna be pulling. and on the fourth one which is the next one that's when we wanna bring that yellow back. so let's put the blue in front

and the yellow is going to be ready for the next stitch. so therefore we've just dragged that yellow one over from where it was so in the next one here again, the same thing with the blue is that i've got to think about this ahead of time. i'm just backing out because my blue is right here. so when i go to finish this stitch if i wanna do the same thing with the yellow and drag it over so the blue starts later

i have to make sure that i'm going to leave that blue in underneath that stitch and hide it. so in this case even it's moving over just one i would bury it underneath just like i did and let the um, sorry, i'm gonna let the yellow come in front. this is not as complicated as it looks. it's just a matter of getting your rhythm and being able to do things. so therefor when you turn it around

you can see that you moved the blue for, the blue forward,. you moved the yellow forward and you have virtually no evidence of doing so. so this is how you do the color changing techniques. usually most of the afghans in the end have the idea of, um, being able to, um, just finish off your work with just one solid color across. again the same idea like i talked about in the beginning of finishing bobbins and stuff. you can do the same thing. so the yellow here

is going to be, um, i'm just gonna put it up underneath the stitch. so it will be stuck underneath. and so therefore i can safely get rid of that out. okay, and then i'm about to hit the blue one and i don't need that blue bobbin any more. i'm not gonna drag the yellow into that blue section because then the yellow will appear underneath for the duration and i don't want that. i want a nice clean line. okay, so this is a great way to be able to hide in ends. and hopefully you've learned something in this color changing technique.

and uh again, it take a little bit of practice in order to do so. you can see that my yarn strands are kinda starting to tangle with each other. um, it is what it is. you just gotta stay organized with your yarn. um, i wasn't being that disciplined with untangling it between the takes. and so it just a matter of just working things out. in lesson number six we're going to look at this concept from a really kind of a cool perspective and we're going to look at if from what happens if you make a mistake. so i've been known to make mistakes on these kind of idea. sometimes i accidentally go over by one stitch and i don't notice it right away.

sometimes these kind of things just gotta keep you from, from frogging. so sometimes for example, say i would have accidentally went an extra stitch here. it would not have been a deal breaker. even if i would have made the wave a little more thicker here, it wouldn't have been a deal breaker. what you really want to pay attention to is any kind of fine lines where it starts to look like a sore thumb when you're following thing around. so one of these ideas. sometimes you have to improvise. you're reading the graph wrong.

and all of a sudden you realize that you've added an extra box here. and if you've added an extra box here sometimes it doesn't make sense to right back to the existing pattern. sometimes it just may have to fill in more boxes. i've known to do that and making things a little bit thicker when you notice a error within your work. you have to really think ahead and sometimes you just do what you gotta do and just uh, you know really there is no graphghan police out there. so if you have to improvise you know you just gotta keep looking at your project and people will probably congratulate you even if there's an error and you know it there

chances are nobody else will. so do not get all discouraged when you realize that you're out of one box and you realize it ten rows later because the reality is, is that chances are if you can notice it right away uh, you can probably fix it or you can just improvise and just add more extra boxes or extra to your graph in order for it to make sense. so that's step number six. do not get hung up if you're starting to make a mistake. and finally for step number seven we have the final touches. i would recommend that you

get rid of you're loose ends as you go in your project versus waiting for it. this is not the right example but if you have to get a whole example of this at the end what a nightmare that's gonna be. i'd recommend as you go, it'll be a lot easier for you if you weave in your ends and get rid of it as you go. if you have a design error within your pattern. okay, if you have an error you're going to notice it a lot easier if you're ends are weaved in versus looking at something that may look like that. okay so just take it easy, just take your time. graphghans are a lot of fun and you can follow this example. it's called catch a wave crochet pillow

the graph is available to you. now you know the techniques of changing colors. now you know how to make bobbins and now you can do it. so until next time i'm mikey on behalf of the crochet crowd as well as yarnspirations.com thank you so much for joining me today and until next time have a great day and we'll see you again real soon. that's my magic fingers. [chuckles] we'll see you later. bye, bye. ðÿ‘‹