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Beautiful Paper Flower Crafts To Make In 3 Minutes | DIY Flower Decoration Ideas - Duration: 3:54.
Welcome to Origami Art, Today i show you
a wonderful paper flower making instruction.
Diy flower is a nice decoration ideas.
Please watch full video step by step.
Don't forget to like, share & comment.
Thank you very much for your attention.
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How To Make Mawa or Khova/Khoya At Home From Milk - Home-made Khova or Mawa By Cook With Fem - Duration: 3:04.
KHOVA/MAWA
MILK - 1 & 1/2 LITER
BOIL AND COOK
KEEP ON STIRING
THIS YIELDS - 300 GRAM KHOVA
LET THE FLAME BE MEDIUM TO LOW
KEEP STIRING EVERY NOW AND THEN
CONTINUE STIRING
THIS IS THICK NOW
KHOVA IS READY NOW
SUBSCRIBE - COOK WITH FEM
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How to Make a Tote Bag with a Zipper - Duration: 10:54.
Hey guys, it's Clara from Online Fabric Store. Today I'm gonna make a tote bag with a recess zipper
This one is made to fit a Mahjong set, but you can make it any size you want. So let's get started
The materials you'll need are: 1 yard of the outer fabric, I'm using home decor fabric
1 yard of the lining fabric, I'm using muslin, 1 yard of Pellon fusible fleece interfacing,
1 yard of Pellon decor bond fusible stabilizer,
A zipper that's at least as wide as the bag, a ruler, thread, 3 yards of 1 inch webbing,
scissors, a fabric marker, pins, an iron, and a sewing machine with a zipper foot
Cut two rectangles from the outer fabric
They should be the width you want the bag plus one inch by the height plus two and a half inches
My bag will be twenty-two inches wide and 11 inches high
So I'm cutting pieces that are 23 by 13 and 1/2 inches
You can use many different fabrics for the outer fabric like canvas denim nylon, quilting cotton or decor fabric, which is what I'm using
If you plan on washing your bag pre-wash the fabric before starting
Cut 2 inch squares from the bottom corners
This will create the gussets so the size of the squares will determine the depth of the bottom of the bag
This bag will have four inch gussets
If you want a different size, divide the depth you want the bag in half and cut out squares that are that size
Keep in mind this will also change the height of the bag
Cut out two pieces of the lining fabric that are the same width as the outer fabric and two inches shorter
My pieces are 23 by 11 and a half inches
Cut out two inch squares from the bottom corners
Use a lightweight fabric for the lining like broadcloth or quilting cotton
Cut two pieces from the lining fabric that are 2 and 1/2 inches high and the same width as the other pieces
These upper lining pieces will be visible above the zipper so you can use the outer fabric if you prefer
I'm adding a pocket to the interior that size to fit Mahjong cards but this is optional
The pocket will be 5 by 7 inches
Add 1 inch to the width and the height is double the pocket height plus 1 inch,
So I'm cutting a piece that's 11 by 8 inches
Cut out pieces from the fusible stabilizer for the outer fabric and upper lining that are 1/2 an inch smaller in all directions
For me that's 22 and 1/2 by 13 inches for the outer pieces and 22 and 1/2 by 2 inches for the upper lining
Also cut out a piece that's the size of the finished pocket which is 5 by 7 inches
From the fleece interfacing cut pieces that are 1/2 an inch smaller than the lower lining pieces
The stabilizer makes the bag stiffer so it will hold its shape and the fleece interfacing makes the lining more cushioned
Both are optional or you can use one kind for both the outer fabric and lining
Center the stabilizer on the back of an outer piece with the adhesive side down
Press each section for about 10 seconds at a time without sliding the iron. Flip it over and iron the front
Repeat for the other outer piece and the upper lining pieces
Fuse the stabilizer to the pocket piece half an inch in from one of the ends
Do the same thing with the fleece interfacing for the lower lining pieces
Cut two pieces of webbing to the length you want
Mine are 50 inches long which will create a drop of 11 inches from the top of the bag to the peak of the handles
Find the center of the outer fabric measure out 3 and 1/2 inches on both sides and mark the fabric with the disappearing ink marker, chalk, or pins
This will allow seven inches between the webbing
You may want to adjust this for different sized bags
Mark, one and a half inches from the top which is where the stitching will stop
Pin the webbing so the inner edges are on the line
Starting from the bottom sew the webbing 1/8 of an inch in from the edge
Backstitch at the beginning and end of all stitching on the bag
I'm using a slightly longer stitch length of three point five millimeters for all my top stitching
Stop when you get to the one-and-a-half inch mark and pivot, sew across back and forth for extra strength
Pivot again and sew down the other side
Do the same thing for the other end of the webbing
Repeat to attach the other handle to the second outer piece
You can also use straps made out of the fabric you're using if you prefer
Fold the pocket in half with the stabilizer facing out. Sew around the sides on the edge of the stabilizer
Leave a gap of a couple inches at the bottom
Clip the corners and turn it right-side out
Center the pocket three inches down from the top of one of the lower lining pieces and pin
Sew close to the edges around the sides and bottom
Put the zipper foot on your sewing machine
Open the zipper slightly and sew back and forth above the teeth to hold the top together
Place the zipper facing up on the top edge of one of the lower lining pieces
The upper end of the zipper should be aligned with the side
Place one of the upper lining pieces on the top facing down
The edges of both lining pieces and the zipper should be aligned
Sew down the edge
I prefer to adjust as I sew but you can pin if you want
When you get to the zipper pull, lift the foot, move the pull, and continue sewing
Open the lining fold it back and top stitch
Make sure to pull back the piece on the bottom so it doesn't get out of place as you sew
Put the zipper face up on the other lower lining piece and place the upper lining piece on top facing down
Sew with all the edges lined up like before
Open and top stitch again
Fold all the layers back except for one of the upper lining pieces
Line up the edge with an outer piece with right sides facing and sew
You can switch back to your regular pressing foot
I'm using a quarter inch seam allowance here, but half an inch is also fine
Repeat for the other upper lining and outer pieces
Arrange the layers so the outer pieces are facing each other on one side and the lining pieces are on the other side
Line up the bottom edges of the outer pieces and sew with the half inch seam allowance
Sew the bottoms of the lining pieces together to
Make sure to open the zipper at this point or before sewing the bottoms
Next sew the side with the top end of the zipper
Fold the zipper in half with the edges pointing down towards the lining side
Match up the seams and pin
Sew all the way down the side with a half inch seam allowance
Arrange and pin the other side in the same way
This time stop just before getting to the teeth of the zipper
Start sewing on the other side then leave a gap of about six inches and continue sewing the rest of the side of the lining
Open one of the corners and match up the seams to form the gusset
Sew across with a half inch seam allowance
Repeat for the other corner and the lining corners. You can cut off the extra zipper at any time
And now the moment of truth. Turn the bag right side out through the opening in the lining
Poke out the gusset corners of the outer fabric
Fold in the edges of the opening and the lining and sew
You can hand stitch with an invisible stitch if you want, but since it's the lining, the machine stitching won't be very noticeable
Tuck the lining into the bag. Fold at the seam where the outer and lining fabrics meet
Top stitch all the way around
Zip it up and the tote bag is done
Make a tote bag for yourself or as a gift. I made these for my Mahjong loving aunts
You can also add interior and exterior zippers or more pockets to put your needs. Thanks for watching this OFS project
You
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How to Create a Fashion Portfolio that gets the job: Student vs Professional Fashion Designer - Duration: 12:16.
To the untrained eye there can be subtle but huge differences between a
student fashion design portfolio and a
Professional fashion design portfolio and these differences can make or break your chances of getting a job in this video
We're gonna go through what those differences are
And if you're a fashion design student what changes you can make to your student portfolio to make it look more professional?
We're also going to cover how you can break into a new category
even if your student work or past professional work
Doesn't have anything to do with that category
I'm so Heidi founder of successful fashion designer comm and I teach fashion designers like you the real world skills
You need to get ahead in this cutthroat industry all the stuff. You don't learn at fashion school
A lot of people don't talk about this stuff. So I like to call it fashion industry secrets revealed
And the advice in this video isn't just stuff I made up it's stuff
I've learned over a decade working professionally in the industry and it's also stuff that I've learned after doing over
75 interviews with fashion professionals on my podcast
Successful fashion designer these designers have landed their dream job at brands like Lululemon DKNY and Under Armour and they've used these exact
strategies to present an exceptional fashion design portfolio
I've hand-picked their best advice from our podcast interviews and
Package them up into this short video for you. If you want to check out the full interview
They're all linked below in the description. Oh and pro tip
If you have any questions that I don't cover in this video
I wrote an entire book how to create your fashion portfolio in a weekend. It's absolutely free
All right. Let's start out the first
biggest difference between a student fashion portfolio and a professional portfolio is the idea of
Commercial design versus conceptual design, it's the wacky stuff
You see on the runway versus the real-life stuff. You actually see in stores now in fashion school
They teach you to be super artistic and they encourage you to do these very conceptual designs
But in the real world brands create commercial everyday clothes for everyday people and no offense
but a lot of brands don't really care that much about your gorgeous and artistic conceptual designs now the strategies between
Commercial and conceptual work what brands really need versus what you learn to do in school
Comes up. So often on the podcast in this video. I'm going to share two specific examples
The first is from Carlos Luis
Stout who I interviewed in episode 60 now Carlos been a designer for over 15 years and she has had the most phenomenal career
trajectory
But when she first started out she applied and interviewed for over 20 jobs without getting a single offer
All the brand's said was we need you to have some
Experience before we can hire you, but she was stuck trying to get her first experience
Well, Carla realized is that her portfolio was very conceptual
So she did a few self-directed projects that were very commercial put them in her portfolio and almost immediately
She landed her first fashion design job because as Carla talked about in her interview
The industry is not as airy-fairy as it is in design school
You're not basing things off of some tree that's blowing in the wind for this poem for the 19th century
your work has to be more relevant to trends that are going on and to
Commercially driven clothes that real people are actually wearing because I hate to break it to you
I've talked about this in other videos, but the crazy conceptual stuff that you see on the runway does not actually go to market
So yes, while some brands create these crazy conceptual designs
That is not what you're gonna be designing stuff on the runway is created for PR and marketing and presentation purposes only and that stuff
Is being created by the designers at the top top top of the chain?
you may get there someday and you can
but to start you're gonna be at the bottom and you are gonna be working on designing the
everyday clothes for everyday people the next example of this comes from Bjorn Bengston who I
Reviewed on the very first episode of the successful fashion designer podcast now bjørn's been in the industry for over 20 years
He's a design director and he does a lot of hiring
He's worked for brands like theory and Greg Norman and being in a hiring position
You're knows what he wants to see in someone's portfolio
I'm gonna let him tell you in his own words who work is very many times very conceptual and
Not always applicable to what goes on in the industry from a commercial standpoint
So develop something by yourself that you feel could be good for those
five to ten companies you really want the interview with and then when you show your
Patrol you actually develop time and develop you something that you feel is relevant from the commercial standpoint
If you don't have any commercial work that you've done because you've not yet worked in the industry
You can either pull some projects from an internship or do some self-directed projects to put in your portfolio
just make sure that they're based on what's actually in the market and what brands are actually selling on their website or in stores and
the next big difference between a
student fashion portfolio and a professional one is
showing
irrelevant projects versus showing tight cohesive collections that actually relate to the brand
What does this even mean?
Well, I boiled this down to the portfolio golden rule and if you've read my free book on portfolios
Then you've read this before here it is
again
this project collection or design speaks to the brand tells them that I understand their market customer and aesthetic and
Visually shows them that I am the right designer for the job. Now a lot of fashion design students their portfolios
We mentioned can be very conceptual
They also just want to shove every project they've ever done in there
But your portfolio is about quality and relevance to the brand not quantity
it's better to show just a handful of relevant projects from an internship or
from
self-directed projects than to show a bunch of stuff that doesn't even make sense to them a
Specific example of this came up when I interviewed Sheena Schoolcraft in episode 11 of my podcast
Sheena's worked for brands like DKNY and Tommy Hilfiger and she is in a position to interview and hire designers
She knows what she wants to see in a portfolio and what she doesn't she know specifically says it is a waste of time
To show too many projects. Everybody is so busy that if you show too many projects and stuff that's irrelevant
People just wind up getting kind of annoyed
She just suggests a maximum of three to six projects that are super relevant
because by the time you show your inspiration and you're trying and your mood board and your color story
It gets to be a lot of pages
So that is more than enough because here's the thing if you're applying for a position for woven tops
And you show a bunch of evening wear dresses. It doesn't even make sense as beautiful as your designs
maybe you're wasting everybody's time and one of Sheena's best pieces of advice is to send your portfolio as
Small PDF files that way you can customize what each brand sees now
I realize if your student you might not have that much work to choose from
But just really think about if you're showing eveningwear dresses to a brand that you're applying to to design swimsuits
Just think about what really makes sense and when you go in for an interview with your physical
portfolio pull pages out that are irrelevant or at least tuck them in the very back don't flip through 100 pages of
Irrelevant projects just because you're sitting there in person and this came up again on episode 53 when I interviewed Shelley
Simpson who runs the fashion recruiting department for a large staffing agency in New York City and Shelley cautions designers
Against sending brands to a full website unless your website is hyper focused on that specific category
Why?
Because it's hard to control what people will or won't see on your website where they may or may not click and it's really easy
For them to get confused and turned off by seeing something that's irrelevant to them
here's Shelley in her own words explaining this further as far as like a website goes this is where I typically
unless your website is very
specific and caters to a certain audience
I'm
and I want my client to see that I
Typically avoid sending that to clients because sometimes you're gonna have such array of work and you just don't want them clicking on the wrong
Lake and being like, oh she does swimwear, even though you know you're applying to them for like an it's position
I'm you just want to make sure that if you are presenting that to a client or you know somewhere you're applying
That it's it's a fit for what they're looking for. Otherwise, you never know where they're gonna end up on your website
So it just needs to be very well thought out if you do, you know intend to send that out
So again, unless your website is super focused on just what that brand wants to see for that specific category
consider sending customized PDFs for each job
It will remind you of the portfolio golden rule
again
this project collection or design speaks to the brand tells them that I understand their market customer and aesthetic and
Visually shows them that I am the right designer for the job
I talk about all of this and much more depth and answer every question
You could possibly have about your fashion portfolio in my free book
But before you go clicking away, here's how you can break into a new category
Even if you're past schoolwork or perhaps professional work has nothing to do with that category
And we've talked about self-directed projects in this video earlier
But a question that a lot of designers have is is it actually okay to show that stuff in your portfolio?
Can I put stuff in there that hasn't actually gone into production?
Yes
you can and this is exactly what Lela Jalili did who I interviewed an episode 49 now Leila's worked for brands like Helen Hansen and
Under Armour, but when she first got started in the industry out of school
She didn't have any experience in outerwear
She wanted to get into snowboarding in high action sports
But nothing in her portfolio reflected this so she did a bunch of self-directed projects and that's how she landed her first job
Beyond this Lela and I brain started a bunch of cool ways in the podcast
That you can add relevant work to your portfolio
Even if you don't have formal experience look for design competitions that you can enter
this may be a
competition that a brand is having or that a trade shows putting on maybe you offer to help a startup for free now I have
Thoughts I'm working for free and it boils down to this
if you initiate the project and you tell the brand or the startup or the person that you're working for free to gain experience and
You put very clear parameters on
What the projects going to be then it is okay
Where I really suggest you don't work for free is if a brand approaches you and asks you to do it to gain exposure
That is abusive
I know another person in the industry who has a friend
Who they give each other design inspiration boards and in they each design a collection off of that so get creative
Work with other people figure out ways you can get the experience
Before you had the experience one last example
Comes from Hilary Glenn who I interviewed an episode 35 now Hilary had lived in New York City and she had worked for a bunch
Of really high-end brands, but she was moving to Colorado where there's a lot of lifestyle and activewear brands
She didn't have a lot of this of work in her portfolio
So she did do some self-directed projects
But beyond this she went into interviews with sample projects that she created specifically for those brands and she showed them her ideas
So not only was she impressing the brand with the sample project. She then had more content to add to her portfolio
There are a million ways
You can come up with to get creative with this
So do that and then add some
commercial work to your student portfolio because remember the two biggest things that are going to make your
portfolio look more professional and less student is having
Commercial driven work and only showing stuff that's relevant to the brand again for more specific tips
Visual examples and answers to all your questions check out my free book on
Portfolios and to listen to the full length interview with all of the guests who I mentioned in this video
Check out the links in the description below in the meantime
If you liked this video, please click the subscribe button and give the video a thumbs up. I really do appreciate it
And it does help quite a bit
and for more free tips tutorials and advice on getting ahead in the cutthroat fashion industry head on over to successful fashion designer comm and
Sign up for my email list. I share tons of stuff there that you don't see on YouTube
I'd also love to hear from you
What surprised you most about the difference between a student fashion design portfolio and a professional one?
let me know below by leaving a comment a
Specific not podcast, it's not a podcast. It's a video
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How To Make New Year Resolution (STOP SAYING IT & DO IT) - Duration: 7:27.
Welcome hustlers.
Austin Varley here.
If you wanted to learn how to make a New Year's resolution and, most importantly, how to achieve
it, then stay tuned in watching this video and make the best year yet.
If you're new to my channel, I'd love if you'd click the subscribe button and let me know
what other videos you'd like me to make so that you can crush your goals.
Now let's get started.
Alright.
Welcome hustlers.
I'm excited because today we're going to teach you and we're going to learn how to make a
New Year's resolution and, most importantly, how to achieve it.
If you're here, that means that you actually want to make a difference.
That drive, that ambition, that's what's going to help you actually achieve your goals.
Don't forget the reason why you want to change what you want to change, and let's actually
make it.
Let's just dive right in.
Overview.
Today we're going to talk about creating goals, or creating your New Year's resolution, talking
about goals, talking about deadlines, and then we're just going to recap everything.
Let's just go right in.
First, we're going to start with goals.
Your New Year's resolution all starts with a goal, all starts with something that you
want to change.
What is that?
What are your goals?
What is it that you want to change?
What is the difference that you want to see in your life?
Whether that's your income, whether that's your relationships, whether that's your physique,
your health, you want a dog, there could be so many different goals and so many different
resolutions.
You could even be like, "I want to be more of a risk-taker, so I'm going to jump out
of a plane."
I don't know.
First, we got to figure out what are your goals.
What has been your resolution in the past?
If there's something that's been an incurring event or an incurring theme every year about
your resolution, maybe every year you don't get to achieve it, you don't get it done,
what is that?
What is that goal that just keeps getting pushed back to next year, to next year, to
next year?
Because now we're going to learn how to achieve it, and we're going to make it this year,
but we're going to get it done.
Should not have ate In N' Out before this.
What do you want to be different?
Right now, seriously, get a piece of paper, get it out, write it down.
I personally like writing.
You don't have to actually.
It's so funny.
Me being environmentally friendly like you'd to not waste paper, but I still write stuff
down, so I need to change that.
You can put it in your phone, put it in your notes.
What do you want to change?
First, you came here because you want to know how to make a New Year's resolution, so you
probably have something in your head, so let's write that down.
Now, and this is the big thing, and a lot of people miss this, why the hell is that
your goal?
Why do you want that to change?
Why do you want that to be different?
Because that's actually what's going to push you through all the BS to make sure that you
get it done.
Why do you want to achieve these goals?
Why do you want to lose the weight?
Why do you want to ask the girl out?
Why do you want the promotion?
Why do you want to start that business?
Why do you want to get that car?
Why do you want to cut your hair?
I don't know what it is.
I don't know what your goals are, but you got to figure out why.
Truly sit down and figure out why.
Don't be like, "I just want it because I want it."
No, no, no, no, no.
Seriously, was there something that happened in your past and it just irked this feeling
and you're like, "You know what?
I'm not going to do it anymore.
I want to change"?
Or is it you see someone else and maybe envy or you visualize or you think about that and
you want that?
Whatever it is, it doesn't matter.
Just think about why do you want to achieve these goals.
After you think of that, how would it make you feel once you achieve it?
Once you achieve these goals, what is that going to do for you?
What's that going to make you feel?
What's that going to impact your life?
That's what we want you to think about is the goal, why you want it, and the feeling
when you achieve it, because you're going to achieve it if you don't quit and if you
actually stay true to yourself.
One of the biggest things that a lot of people do is they lie.
They lie to everyone else, but most, not most important, but the worst, they lie to themselves.
Today we're not going to do that, and this year we're not going to do that.
Don't lie to yourself.
Actually get the shit done.
Don't push it away.
Don't procrastinate.
Because we're human beings, we want to procrastinate.
I've been procrastinating on this video, but I'm done doing that.
How will it make you feel once you've achieved it?
Next, my goals.
I want to make $500,000 this year.
I want to donate $100,000.
I want to have a 1,000 LYL Wolf.
Stay tuned.
I'll teach you more about that.
I want to connect with Leonardo.
These are just some of my goals.
These are some things on my New Year's resolution, these are some of my goals that I want to
have for the year.
I got to have action steps to hit these goals.
Now, deadline.
The goal, not the goal, the quote from Robert Herjavec, the guy on Shark Tank if you guys
don't know, "A goal without a deadline is just a dream."
It really is.
If you don't put deadlines, if you don't do anything on your goals, you're never going
to get them.
It's just a dream.
"Oh, I want to make $500,000.
I want to make six figure.
I want to lose this belly fat, or I want to get a six pack", whatever it is, put a deadline
on it.
Deadlines are what's going to happen.
Now create deadlines for your goals.
You said you want to lose 10 pounds.
By when?
It doesn't even have to be losing 10 pounds.
Say, for 2019, you said you want to lose 10 pounds.
Awesome.
When the hell you losing that first pound?
Let's say by January, we have to lose that first pound.
Deadline, January, lose one pound.
By March, I'm going to lose four pounds.
By end of May, I'm going to lose seven pounds.
This can be total, and this can be like over, over and over.
This is where you want deadlines on your goals so that you actually are looking at them and
you're going to get them done because you are having them as a deadline and you're actually
moving forward on that goal.
I didn't actually put it in here, but I really want to talk to you real quick about action
steps.
Now we know how to make a New Year's resolution.
We write it down, we put it up, and we can put this up everywhere.
Write it down, put it up here, put it in your room.
Get this laminated, put it in your damn shower because you'll see that every day.
Put it in your car.
Write a sticky note and put it around.
"Lose 10 pounds."
Put that goal, whatever it is, that New Year's resolution, everywhere.
Put it everywhere.
Something that you got to do is what action steps does it take for you to achieve that
goal.
That's what you need to figure out.
If you want to lose 10 pounds, obviously working out and dieting is going to be very crucial.
If you're trying to make more money, you got to figure out, "How do I get promoted in my
job?
Or I'm a sales guy.
My sales process, how can I do it more?"
Like Grant Cardone says, "10x the effort."
If you're making 100 sales calls a week, times that by 10.
Now let's make 1,000 calls a week.
Let's be real with ourselves.
Could you do that?
If you can, alright, but remember, don't lie to yourself.
I can talk about this a lot more, and you can also listen to my podcast about this too.
What I want you to do real quick is review your last year.
Review ... Right now, it's 2018, so review 2018, or if you're watching this in a different
year, review your last year.
If you had the same goal, why didn't you achieve it?
If you did, why did you achieve it?
What was the action steps that got you there or whatever it is?
Review yourself.
Review your discipline.
Review your actions of this last year.
Now you know what you want, now you know what you need to do to get it, and now you got
deadlines.
Now you know how to create a New Year's resolution, and now you know how to choose to go after
it.
Thank you so much for watching this video.
If you got value, please let me know in the comments below.
Click Subscribe, and let me know if there's any other videos that I can make for you,
or if you want me to even go into more detail about the action steps and more on how to
achieve your New Year's resolution.
Let me know.
Talk to you later, hustlers.
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Gimp 2.10.8: How To Make a Greeting Card - Duration: 8:54.
In this Gimp Workshop tutorial we are going to make a greeting card.
Go to file, click open, search for the image of the typewriter and open it.
We are going to make a Happy New Year card.
But you can of course choose any type of card you like; birthday, thank you, friendship, etc,
as long as the text fits on the keyboard.
In the toolbox we make the ellipse select tool active.
Check the option fixed and make sure you have the aspect ratio 1:1.
In this way we can select a perfect circle shaped form.
Now zoom in very far, to the letter H.
We can zoom in and out,
by holding the Ctrl key and then rolling the mouse wheel.
Click and drag out a selection of the H key.
We can click and drag the handles and or the corners to make corrections.
And we can click and drag inside the selection to move the whole selection.
When it looks okay, we click inside the selection to confirm.
Go to select, feather and feather the selection with 5 pixels.
Click okay.
Back to the menu bar and now to edit.
Here we click on copy.
Again to edit and now we click on paste.
Click on the new layer button to change the floating layer into an actual layer.
Double click on the name and rename it H. Hit the enter key.
Go to the toolbox and make the move tool active.
Check the option move the active layer.
Zoom out, so we can see the letter R.
Then click and drag the letter H over the letter R.
Because we have to repeat the same actions multiple times,
it works effective to make use of the shortcuts.
So press the page down key on your keyboard, to make the typewriter layer active.
Note that on a standard Windows-style English keyboard,
the default shortcut Page Down does
not refer to the key on the numeric keypad,
but to the other Page Down key in the group
of six keys to the left of the numeric keypad.
Press the E key to make the ellipse select tool active again.
Hold the mouse wheel down, and move the mouse, to move to the letter A.
Or use the scroll bars to move the image.
Zoom in again and make a selection of this letter.
When this looks good, we can click inside the selection to confirm it.
And again, we go to select, feather, and we feather the selection with 5 pixels.
Click okay.
Press Ctrl+C to make a copy and press Ctrl+V to paste the copy.
Hit Ctrl+Shift+N to change the floating layer into an actual layer.
Double click on the name and rename it A. Hit enter.
Press the M key to make the move tool active.
Zoom out a bit and move the image in the image window, so we can see the letter T.
Click and drag the letter A over the letter T.
And press the page down key, to make the typewriter layer active again.
Zoom in to the letter P,
and press the E key for the ellipse select tool.
Make the selection.
Then we go to select and feather the selection.
Press Ctrl+C, then Ctrl+V
and finally Ctrl+Shift+N.
Double click on the name and name this layer P.
Hit enter.
Hit the M key and move the P over the Z.
Now we need a second letter P.
Press Ctrl+Shift+D to make a copy of the P layer.
Click and drag it over the letter U.
Press the page down key twice, to make the typewriter layer active again.
And then we can repeat the whole cycle.
When we are at the letter Y, E and the letter A,
we can make copies of those layers
and just move them to there proper positions.
We will go fast forward.
Now we need the letter R, which is hidden, and place it over the letter L.
Make the typewriter layer active.
Hold the shift key and click on the eye to make all other layers invisible.
Press the E key.
And now we can make a selection of the R.
Then we go to select and feather the selection.
Press Ctrl+C, then Ctrl+V and then Ctrl+Shift+N.
Double click on the name and rename it R. Hit enter.
Hit the M key and move the R over the L.
Hold the shift key again and click twice on the eye
of the typewriter layer to make all layers visible.
When the text is done and to our liking,
we make the typewriter layer invisible by clicking its eye.
Then we can right click on a random layer and click on merge visible layers.
In the dialog box that pops up, we can just click merge.
Make the typewriter layer visible again, but make sure that the R layer stays active.
We are going to color our text so it stands out on the keyboard.
Go to colors in the menu bar and then click on colorize.
Here we can choose any color we like.
I have made the hue 0,07.
Hit enter.
Click okay.
And with that we have made our own greeting card.
I hope you have a good time with this tutorial.
Please do not forget to like and comment.
Thank you for watching.
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How to Make Your New Years Resolutions Stick - Duration: 4:50.
Have you ever wondered why most New Year's resolutions fail?
Hi, I'm Stacey Berger here with Mastering Your Mindset. I am passionate
about you living a life that you love. Today I'm sharing with you three reasons
why New Year's resolutions fail. The most common mistake that I see when people
are writing their goals, when they're writing their vision, when they're making
their New Year's resolutions, is they write them in a way that's really called
an avoidance goal, versus an approach goal.
So an avoidance goal is something that you no longer want in your life. It's
what you're wanting to give up, what you don't want to be doing anymore, and we
write the goal or the vision focused on that. So here's some examples of what
that would be - I want to lose the weight, I want to get out of debt, I don't want
to worry anymore, I want to be stress-free, and with all of those things
there's still what we want to avoid in there. I don't want any more stress - we're
still using that word stress - and so what happens is as long as we're using the
word stress it usually creates an emotional response to that. So you're
thinking maybe more about the stress than the stress-free. And so an
avoidance goal would be, here's what I don't want in my life anymore. And
instead if you can look at that list and reframe it into what do you want? So if
on the what I don't want is I don't want any more back pain, I don't want my knees
to hurt anymore, I want to get off the medication - instead, an approach goal
would be I wake up and I move with freedom and ease, I'm playing with my
grandkids or my kids, I'm going skiing and doing all the activities that I love.
And so an approach goal is more what you're focused on creating in your life.
So instead of where are you coming from, you want to write those New Year's
resolutions and those goals in to where you're going.
So first reason New Year's resolutions fails, because of focusing on that
avoidance goal versus the approach goal. The second reason is we try to go at it
alone. So if you can imagine you're setting a new goal, you're setting a new
vision, a new resolution, something that you want to accomplish, but you've got
patterns and habits that aren't like that. And
oftentimes what happens is when we try to accomplish it on our own, even with
the very best of intentions, we find ourselves sabotaging our own results.
When you're on your own, it's very difficult to keep that accountability
and that momentum, and so having a partner in believing, finding somebody
that's willing to support you, to hold you accountable, maybe to achieve that
goal with you where you can work on it together, we're so much more likely to
succeed when we have a support system around us. So the third reason New Year's
Resolutions can fail is because there's really not that commitment. There's not a
burning desire. So it's more about wishing and wanting and hoping, without
it really being a full commitment. So how can you turn up the desire on your New
Year's Resolution? Think about why is it important to you.
So as you fast forward to December 31st 2019, and imagine yourself having
accomplished it. how is that going to feel? How proud of yourself are you going
to be? How will you celebrate? And now imagine if you don't do it, if another
year goes by and you don't accomplish that goal, how is that going to feel? So a
real strong commitment and decision, I'm doing this! Versus a when I have the time,
or wishing or wanting or hoping for it. So how committed are you to that New
Year's Resolution? So as you look at your New Year's resolutions and your goals
for 2019, make sure they're written in that approach manner, who is your
structure of support? Who is your support system to help you be accountable to
that, and how committed are you? And if you do those three things, you're
certainly going to increase your success in 2019. So comment below, what's one
thing that you're committing to in 2019, and as a community we'll support you in
reaching that goal. If this video supported you, make sure you like it,
subscribe to our channel, follow us on Facebook and here's
to your success.
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How to Create Geometric Art and Gradient Lines in Illustrator - Duration: 21:08.
(acoustic guitar)
- [Helen] Hello and welcome to this Design Cuts
video tutorial, today we're looking at creating
geometric art and gradient lines in Illustrator.
For the first example, I'm going to choose file
and new and create a document 1920 by 1080 pixels in size.
I'll click create, this is a document that is wider
than it is tall.
I'm selecting the pencil tool here and making sure
that I don't have any fills selected.
That's critical, or the effect is not going to look correct.
So I'm going to start by drawing some wiggly lines
from one side of the art board to the other.
Now I want some plainish sort of lines
with just gentle bumps in them.
And I want one that has a sort of loop in it.
You don't want all of your lines
to sort of look the same.
So I'm gonna do one that's got some ups and downs.
And I'll finish off with one that is a sort of loop.
Four lines should be sufficient.
We're going to create a blend of these lines,
so I'll go to the blend tool,
hover over the first one and you'll see an asterisk
in the bottom right corner of the mouse pointer.
Click once to select that line and then the next line
will have a plus sign, and the next one a plus sign,
and the last one a plus sign, so you just want
to click on all four of those lines.
What you see right now may not be the same
as what I'm seeing, so don't worry.
You double click on the blend tool,
select preview so that you can see what's going on
and choose specified steps, and now start increasing
the number of steps and as you do,
you'll see that these lines are blending into each other.
So you're getting some areas where the overlapping
of the lines creates some very dark areas
and some areas which are much lighter.
Now you can experiment with how many steps you want,
there's no hard or fast rule here.
So I think I'm gonna use about 40,
so I'll click okay.
At this point you can go to the direct selection tool,
and click on any of these anchor points in these lines
and just move them.
So if you want to move some of these dark areas
away from each other, you can locate the anchor points
on the lines and just move the lines
to get something even a bit more interesting.
Now I'm gonna settle with what I have here,
but if we have a look in the last panel
you'll see that we've got a blend in the last panel,
a blend and four lines, so we don't actually have
all of these lines as individual objects.
To do that I'm going to make sure I have my blend selected
and choose object and then blend and I'll choose expand.
And that gives me a group with lots of individual
lines in the group.
Now I'm gonna apply a gradient to the stroke on these lines
and I also want to blend them, so at this stage
I'm just gonna ungroup them, so I'll choose object
and then ungroup.
So at this point we just want a whole series of lines.
Now you might be looking at this and wondering
how you're going to see a gradient,
and you probably won't be able to see a gradient
because everything's blue.
So what I'm gonna choose is view and I'll choose hide edges,
and that just turns off that blue colouring.
These lines are still selected, we just can't see
the selections, and that's going to allow us
to apply a gradient and actually see the result.
We just need to remember to turn that setting
back on later on.
So I'm gonna go into swatch libraries
and go to gradients, and here are a whole series
of gradients sort of shipped with Illustrator.
I'm choosing sky, but you can choose
any set of gradients that you like.
And if you don't like the sky when you get to them,
you can just use these arrows to move back through
some of these other gradients that are shipped
with Illustrator, but as I said,
I'm gonna stick with sky.
So I'm gonna click on one of these gradients
and see that this linear gradient is now applied
across my lines.
Now we can tweak the gradient later on,
we just have to find a gradient that we like at this point.
So you can experiment with variants of these gradients
until you find the one that you really like.
I think I'm gonna settle for this one today.
Now at this point the gradient is just being applied
along each individual line,
and we're seeing sort of a buildup of colour
but only up to the original colour in the gradient.
I would like to have these areas even a little bit darker,
and so I'm gonna use a multiply blend mode,
because a multiply blend mode is going to enhance the
colours where these lines are over the top of each other.
So I'm going to the appearance panel,
I still have all of my lines selected.
From the bottom opacity setting you'll see that there's
an opacity for the fill and an opacity for the stroke.
We're gonna choose the opacity for the entire line.
I'm gonna set this to multiply, and so we're getting
these really nice darker areas where
these lines are overlapping,
so this is the before, and this is the much richer
much more interesting after.
Now I'm gonna group those lines back again
because they're going to be easier to handle that way,
so I'll choose object and then group.
Now I just want to show you one thing,
because you may fall foul of this.
I'm going to add a black rectangle here, so I'm going to add
a rectangle the exact size of the art board.
I'm going to fill it with black,
and give it no stroke, and I'm going to align it
to the art board.
Now at the moment it's on top of everything,
so I'm going to place it behind everything
with object, arrange, and send to back.
Now the lines are no longer visible.
And the reason for this is that blend mode that we applied
is actually affecting the interaction of these lines
as between the lines themselves,
but also with the rectangle underneath,
and multiply blend mode just means everything
is turning to black.
So to solve that problem I'm going to reselect
my group of lines, I'm going back
to the appearance panel, I'm going back to this
opacity setting, but this time the opacity setting
is affecting the entire group of objects.
I'm gonna click that open, and there's an option
here called isolate blending.
And what that does is it isolates the blending
to the objects within the group,
but doesn't let that blending affect the group objects
and other objects in the art board.
So this is isolating the blending within the group
and now we're able to see our lines again.
So just be aware of that any time you want
to put lines like these over the top of a,
for example, darker background.
Now as I said before we finish up,
view and then show edges
because we need to be able to see those edges
when we select things in future.
For the next set of lines, I'm gonna show you
a really interesting effect that you can create
with the transform tool.
I'm gonna chose file and then new and just create
a square document, mine's 1200 by 1200 pixels in size.
Now again, I'm gonna turn off the fill here,
I just want a line, and I'm going to the line segment tool
and I'll just draw out a line here
that is somewhere starting around about the middle
of the document, and then just extending part way
across the rest of the document.
So that's the starting point for this line.
And what we're going to do is we're going to create
a sort of radial shape here with this line.
So with it selected I'm gonna choose effect,
distort and transform, and transform.
And this is one of the most fun and really really
valuable tools in illustrator.
So we're gonna start by turning preview on
so we can see what we're doing.
I'm going to set the horizontal and vertical scale
to 97%, so this line as it rotates around
is going to get smaller and smaller.
I'm going to set my angle to 29%
and I'm gonna show you in a minute why that's a really
good setting, and then I'll set the rotation point.
At the moment, the rotation point is in the middle
of the shape but I'm going to select the top left corner
here so it's going to rotate around a central point.
And then I'm going to increase the number of copies
to about 60.
Now the reason why I chose 29 degrees
is that it's throwing everything off a little bit.
If we increase that to 30, we just get all these lines
rotating on top of each other, but when we select
something like 29 or 31, then everything is rotating
in a more interesting manner.
I might just kick my copies up one more
so that I get this area filled in.
So you can experiment with different values
for angle and different values for copies
but you want to get a sort of filled in shape like this.
And at 97%, every one of these lines
is 97% of the length and width of the previous line,
so you're getting this final effect.
I'll click okay.
Now the shape here is really just a line.
When I go to the appearance panel, you see that there's
a transform effect, so this line is just subject
to a transform effect.
So what I want to do is expand this shape
so I'll choose object and then expand appearance,
and if we go to the layers palette,
I'm just pressing F7 to get there,
you'll see that we now have a series of groups.
So I'm going to ungroup these objects with object ungroup
and continue to do that
until ungroup is no longer an option.
So we just have now a series of paths.
And it's time to bring in a gradient fill.
So with this entire series of shapes selected,
I'm going to apply a gradient, and I'm going to make sure
the gradient is going on the stroke,
because that's all we have.
We've got lines but no fills.
I'm gonna set this to a radial gradient.
Now just a heads up, this gradient dialogue
is going to look a little bit different in earlier
versions of Illustrator.
I'm using Illustrator 2019.
There's a new tool in Illustrator 2019,
so don't be surprised if you're using an earlier version
if you don't have those options.
Now I'm gonna press Control or Command + H
just to hide the handle so that we can see
the effect that we've got.
And because we've got a gradient that's going
from black at the tips to white at the middle,
we're losing sort of the middle of these lines
and we're getting this really interesting sort of
almost like a sparkle effect.
Now you could increase the stroke weight a little bit
if you wanted to to get sort of darker shapes here
but this gradient is working really nicely.
The other way around, from black to white,
is going to look very different, but again it might
be a look that you like, it's just for me
I'm preferring this one.
So there is a set of geometric lines
created using a simple transformation,
and they have this really interesting radial gradient
applied to them.
You could take this object for example
and make a pattern out of it,
there are all sorts of things that you can do with it.
You might also make an interesting element
in another design.
For the last design, let's create another landscape
sized document, just so we've got plenty of room to work in.
Mine's 1920 by 1080.
Now I'm going to start with the rectangle tool
and draw a square, so I'm holding the Shift key
as I draw out a square.
I don't want my square to be enormous,
about this size is pretty good,
and it can't have a fill.
So I'm going to apply a rotation to this square,
so I can choose effect, distort and transform,
and then transform.
Now for this rotation I'm going to decrease the size
of each of these squares to 95% of the previous square size.
So we're going to reduce the size quite considerably.
We're going to rotate around the centre point,
and we're going to do a three degree rotation.
So these squares are going to start to rotate
around end to shrink, and so I'm just increasing
then umber of copies, and you can see the effect
that we're creating.
And I'm going to continue to do this
until pretty much I've closed up the middle of this shape
and that's probably in the region of about
100, 120 copies.
Plus we're not going to see very many of them
at the very end, I've actually got 84,
I'm thinking that that's probably going to be okay
for this particular size rectangles,
so I'll just click okay.
So we've got a shape that is a really interesting
sort of rotation effect just done with squares,
each one of them is 95% of the previous one
and each one of them is rotated by three degrees.
Now if we want to break these squares out
into individual shapes, we're gonna run into a bit
of a problem, so I just want to show you what that is.
I'm gonna make a duplicate so that we can
throw out the ones that aren't going to work
when we see what the problem is.
I've got my shape selected, so I'll choose object
and then expand appearance, and if I go to
the last panel, let's see what that's given us.
It's given us a whole series, of grouped objects,
so let's just go and break them out of these groups
and see what the remainder is.
Here we have a series of compound paths,
so what's happened is in expanding out shape,
we ended up with filled shapes
rather than shapes with a stroke on it.
Now because we can apply a gradient to a stroke,
we may prefer not to be working with compound shapes,
because in that case what you've got is that each
of these squares is actually not a stroked square,
it's actually a filled shape and the shape is this line.
So if we don't want compound paths to occur,
then that's not the right way to expand the shape.
So let's have a look at this one instead.
What I'm going to do here is having made my shape,
convinced myself that it's all looking really good,
I'm gonna flip the stroke and the fill
so now I can't see anything but I know
those shapes are there.
Now I'm gonna expand the object
with object expand appearance.
And then I'll choose object ungroup
until ungroup is no longer an option.
Now you'll see that I've got filled paths.
Well I've got filled paths because I've got a fill
applied to it, but I can stroke those filled paths
by just switching the stroke and the path.
And so this time I don't have compound paths.
These are squares that have a stroke around the edge,
so there's a different result,
and it just depends on how you expand these shapes,
whether you expand a stroke shape
or whether you expand a filled shape and then flip
the fill and the stroke after you've don't that.
And I think that's probably a preferable way of doing this.
So now that I've got all my shapes here
I'm just gonna group them back in,
but this time they're just going all those paths
into a single group.
At this point we can apply a gradient to those.
I'm going back to my gradients and this time
I'm probably gonna choose gems and jewels,
so let's just see what we've got here.
Well there's some interesting gradients here.
Again I'm gonna press Control or Command + H
so I can hide the edges and just see more clearly
what's happening here.
With the shapes still selected,
I'm going to switch across here
to a radial gradient, and I'm going to flip my gradient.
You'll probably find that you'd get better result
with lighter areas of the gradient towards the middle.
I'm actually gonna pull that stop off,
and let's just go with those two colours.
Flipping them, the result is very different
and it doesn't seem to be as apparent
that we've actually got a gradient on that shape
but certainly with light toward the right hand side,
we're getting this really interesting look to our shape.
This shape could be made into a pattern for example,
because it's a square, we can just drag and drop it
straight away into the swatches panel here,
so let's go and make a pattern out of that,
we'll have a look at that one in a minute.
But before we do that, let's grab this shape
and let's flip it with object transform
and we'll choose reflect.
I'm gonna turn preview on and I'm gonna reflect it,
it doesn't matter over the horizontal or the vertical.
Either will be just fine, I'll click copy.
Because the result here is that these two shapes
are now flipped over the top of each other
and they form a sort of floral shape.
Now to be a bit neater because they're in groups,
I'm going to choose object ungroup.
I'm going to ungroup all of them, so that's two
sets of objects and now I'm going to regroup them.
Just a little bit neater in the last palette here.
This one, I'm also going to drag
and drop into the swatches panel,
because it too can become a pattern.
So let's see what we've got then.
I've created a rectangle that is the size of the art board,
I'm going to turn off the stroke,
I'm gonna target the fill, and let's have a look
at the first of our patterns.
Of we can scale this by choosing object
and then transform and scale.
Make sure to turn off transform objects,
turn a preview on so you can see what you're doing,
and I'll just take this down to 50%.
And you get this interesting pattern that because of the way
the swirls are occurring, it actually looks like
it's sort of moving, it's on an angle,
it looks like quite a dynamic pattern.
Now with this shape still selected,
let's try the second pattern,
and this is the more floral one.
And this is the result that we're getting with that shape.
Now you can always place a filled shape over the top
of these, let me just show you what I'm thinking.
1920 by 1080, another rectangle the exact same size,
let me go and this time fill it with just a plain colour.
I'm going to square it up over the art board,
and now we can blend this colour filled layer
into the object underneath.
We would just go to the opacity setting for this
and for example select something like screen.
And now we have an interesting interaction between
this colour filled shape over the top of a pattern
filled shape underneath.
Now it's also possible to do other things
gradient wise to this shape.
In Illustrator CC 2019, there is, as I said,
this new gradient tool.
So we could come here and choose a freeform
gradient for this shape.
And there are anchor points here that we could now
set to different colours.
So we could add a darker colour at this corner
of the shape, we could come down here
and add a different colour,
so we could go perhaps a little bit more
into the yellows in this area.
And then come over here, perhaps even move the point,
and adjust the colour here.
Maybe we're going into a slight blue area here.
And again, because we've got this blending,
this underlying blend mode,
the colours in this gradient filled shape
are interacting with the pattern that is underneath.
N ow I'm just gonna wind that back because if you're
working in an earlier version of illustrator
you don't hae that feature.
But let me just show you what you could do.
I've got this top rectangle selected,
let me just make sure in my last panel
that I've got this orange rectangle selected.
I'm gonna choose object and then create gradient mesh,
and I'm gonna do a four by four mesh
because that's fine for right now, I'll click okay.
So we now have the top orange shape divided up
in a four by four grid, so when I hover
with the white arrow tool, the direct selection tool
over one of these points, I can select it.
I'm actually going to Shift + Select another one as well.
Then I'm going to the eye dropper tool
and you can see that its shortcut key is I,
that's gonna help you in just a minute.
And I'm gonna target a different colour for these two points
in the gradient mesh.
So now let's go and select a different set of points,
so I'll select this one over here
and Shift + Select one of these on the edge
and maybe one over here.
And then I'll go and press the letter I
to target the eyedropper tool and go to a darker colour
for these other points.
So you can apply different gradient colours
to this gradient mesh using the gradient mesh tool
in earlier versions of illustrator.
And these points can be dragged around,
so I've got a yellow point here,
so I can move it across, so I can create very similar
gradients to the kind of gradients
that we can create with the new tool in Illustrator CC 2019
but you're doing it with an earlier version of illustrator
using a gradient mesh because you don't have accessibility
to the new gradient feature.
So there are some ways of creating gradient
line art in Illustrator.
I really hope that you've enjoyed learning these
Illustrator techniques.
Please let us know what you think in the comments below
and give us a thumb's up if you enjoyed this tutorial.
Until next time, I'm Helen Bradley for Design Cuts.
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The best thing you could do to MAKE MORE ONLINE SALES [Simple Trick to Increase Buyer Conversions] - Duration: 1:40.
preemptively handle their objections for example let's say you're writing copy
for a landing page to capture emails and your landing page for example is giving
away the top 10 most profitable shop finishes with low competition and let's
also say that you put yourself in your target customers shoes which you
definitely should be doing and we've talked about previously and you know
that potentially they might have an objection when they're looking to put
their email into this of okay I want the 10 the top 10 most profitable shop
finishes with low competition I want that free guide but if there have
a little competition maybe the sales were a velocity might be
that high or maybe my ability to make money when those niches actually isn't
that great well you need to preemptively handle that objections so that you don't
give them the option to click away so maybe you put a little text above the
call-to-action which basically handles that objection for you
so that's copywriting obviously and maybe say you know each one of these
niches can generate up to $1,000 per day in sales boom right away objection
handled they look at this and they might think okay well low competition that
means that they probably don't have that high of sales right I probably can't
make that much money with these niches because low competition indicates a low
demand but boom right away you handle that objection and you say no each niche
can actually generate up to $1,000 per day per thousand dollars per day in
sales so it's key to make sure that you handle your potential customers
objections ahead of time when you're writing your copy
-------------------------------------------
How To Make Money Online At Home : $298.50/Day Online With FREE Traffic - Duration: 5:08.
hey the twins here welcome to speedla what if we told you that you can..
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Google Ads Hacks for 2019: How to Make More Sales than Your Competition - Duration: 13:02.
Hey, what is up guys, it's Rafael here your seven figure ecommerce coach. And today we're gonna talk about the top three
Google Ad hacks for this year in the next couple of years so you can
Absolutely crush your competition crush everybody else in e-commerce and champa fight with these hacks on Google
You know, I I made a google apps tutorial and it's done. Absolutely crazy
I think it has like eight thousand views in the past week and a half
So I know that you guys love Google Ads, so I'm gonna keep making google apps videos if you like these videos, please
Give me a thumbs up in the in the section below and if you like a free training on how to make
$10 for every dollar that you spend combining Google Ads Facebook ads and Instagram, it's the first link in the description Google Ad tax
Let's go to my computer and find out
Alright, so now that you hear my computer, these are the three things that I'm gonna talk about essentially in this video
I'm gonna go in-depth in detail in 2hn every one of them
But they're essentially the overall overarching strategy so ad specific keywords to a product tag section on Shopify
Exactly. What does that mean?
Right, when you start off a new google shopping campaign, you're gonna see that a lot of products are gonna pop up for searches
Right. This is what I talked about in the Google s tutorial
These products are gonna start popping up depending on what people search for on Google if someone searches
For you know, in this case, you know a cheap jacket for little girls. This is the product that's gonna pop up
But how do you make sure that your product pops up? And for what specific keywords do your products pop up?
How do you make sure that happens you put them in the tax session?
I always talk about putting them down below in the SEO section, but I've seen that
Well me and my students results have seen that in the tax section actually works a lot better if you want to find keywords for
your products I always recommend the
Software called keyword finder what you can do in there is essentially, you know the type of product that you have
let's say it's a jacket for girls or a
Rain rain jacket in this case and then you put find keywords. It'll tell you different
variations of that specific keyword that you can use in your tag
So for example, in this case, I have a rain jacket and then I would have you know women's rain jacket raincoat
Waterproof jacket then I have lightweight rain jacket
long range jacket, for example
I didn't even know that these were searches and there's a thousand two thousand ten thousand people searching for these things
Now what do I do is I take these specific keywords
and then I put them in the tax section of my product and now add it and
Boom you can add up to I think it's 30 or 50 tags
I really don't add more than 20 or 25
But in this case, you know
I really want to show you how to pop up for the keywords that you want to pop up and this is how you do
It you add them to the tags section. This is how you dominate
Basically, everybody else are suing Google Ads and this is something that not many people talk about. I saw it. I
Haven't seen it any YouTube videos and I haven't seen in any groups or anything
And this is one thing that I absolutely do every single
campaign and every single product that I do and I tell my students to do so it's definitely a huge huge game-changer for me and
Just in Google Ads in general add
the keywords that you want to pop up for and the you know after you look for them in keyword finder and you see exactly
Okay, this is what people are searching for. This is what has high volume maybe the low CPC
so what you can do is even sort by CPC and
Then go to the lowest one so raincoat
Best waterproof jacket what you'll do is obviously if you're doing a waterproof jacket in this case
I'm doing just a rain jacket for girls waterproof jacket. Boom. You put it in here and then you add it right?
So that's essentially how you do this is and how you beat
You know those high CPC donggu because a lot of you guys are telling me, you know
I want to do Google but CBC's are too high or costs are too high
well
This is how you beat that you go on the track section of your product page you check on keyword finder
which other cheapest cpc's and then you add them to the tax session so that they pop up for that and then you'll have a
Cheaper CPC through google shopping, right? This is the first hack now. The second hack is about scaling
how do you scale and there are different ways I
Was gonna do bite those these and you know a couple of sections
But I just talked about them right now here what you can do
Essentially in the camp in the campaign section you can scale horizontally
So when scaling a campaign vertically, which means going from like $5 $10 $20 $50, etc
You kind of start to lose performance on Google
This happens a lot some campaigns when you get to the point where you're like 50 to 100 dollars a day
They kind of start losing performance slowly how you beat that and how you scale is you start testing different bidding strategies
So you'll do maximize clicks with a maximum maximum CPC bit limit
Then you'll do enhanced CPC then you'll do manual CPC and then help increase conversions where there has to be
See you can untick that since you already chose a campaign of an ANSI BC. So just through these four
Let's say you have you know, I campaign at $20 a day
You want to scale it to like a hundred just by putting these four now you're at 80, right?
$20 per campaign eighty dollars a day for these four campaigns
So this the first way down a scale the second way that I scale is by using
Placements and by placements obviously, I mean doing mobile desktop and tablet and I essentially scaled those three
I have the exact same campaign per device and what you'll see sometimes is that for some products often some stores
Mobile tends to do a lot lot better than desktop for other niches desktop tends to do a lot better than mul
So you'll find these by just dividing them into different types of campaigns
So yeah, that's the second way to scale is by placements. The third way to scale is by countries. So what you'll do is
Let me go down here. And then essentially you're gonna divide those locations so up at Facebook
sometimes I tell you guys to combine the four main countries US UK, Canada and Australia, but what you can do on
On Google is basically divide those campaigns per specific country
so you'll have one campaign doing UK and then you'll take that out and then do one campaign for United States and
then you know the next one you'll take that out and then you'll do one can pay for Australia and
Then the same thing you can do it for, you know when you're spending
internationally what what I recommend for expending you know higher than those for english-speaking countries is
Combining different countries and different like regions of the world
So what you'll do is instead of doing like just France or just Germany or just Italy, you know in Europe for example
You would do like five or more of those countries. So you'll do Germany Italy France
Sweden Norway all together those five countries all together and once you start getting some sales once you start getting traffic you'll see which one's
Perform better than the other ones and always see you optimize from there. You make a campaign based on that country
so let's say you have
Let's say you have five camp let's say you have so ten countries in
a campaign and
Then five of those are starting to perform really well now you have five countries in five campaigns
Right, and now you have five campaigns running the exact same campaign just a different country. Now those five campaigns you do per
per device
now you have 15 campaigns and
Now those three devices campaigns you're doing by bidding strategies
So let's say you do the 15 campaigns times three different bidding strategies
You're talking about 45 campaigns already. If each one is I don't know $20 a day that we're talking about a spend of
45 times
$20 a day
We're talking about a spend of nine hundred dollars a day off of
those all those campaigns and what you can do is just go in every morning or every evening and then your check which ones are
Performing better scale those scale those so you don't need to take one campaign to a thousand dollars a day
You can do it horizontally right horizontally means creating
Multiple campaigns instead of doing just one campaign a thousand dollars a day
This isn't we how I scale and how I keep my CPA my cost per action my cost per sale. Very very low
Sometimes you'll see that Google Ads experts or gurus tell you to just increase the bid
The the budgets like $2,000 a day
Well that kind of kills the campaign honestly most of the times that's why I recommend just doing it this way and improving
And scaling that way
All right, the 13 is troubleshooting and optimizing campaigns now
Once you start getting some traffic onto your website onto your products
You're start to see that obviously some products tend to do really really bad on Google. So once you see some results
Let's say you spent
$200 spent on ads
suddenly other recommend is that just some products are going to underperform some products are just not going to perform on Google and
That don't perform on Google that you know
You essentially test them on Google just like you test them on Facebook you want to not take them out of your store
You want to take them out of Google and what I do for that is for example, I find a product
Let's say this product just absolutely sucks on Google but it works on like Facebook and Instagram
But it just absolutely sucks on Google. What I'll do is I'll do oh
right here product availability you manage that and
Then you take out Google Shopping and you click done and what that does is it doesn't take it out from your store
It doesn't take it out from you know, from where you're doing our Facebook Instagram, whatever
It just takes it out from the Google campaign. And from now on you won't be promoting that product through your Google Shopping campaign
So you'll keep that Google Shopping campaign running. Let's say you have a hundred products
Right. Cancel. Let's say you have a hundred products a
hundred products running and
Ten of them suck right. They're really bad they get traffic, but they're just like really really bad. Then you take those ten out of
The Google Shopping you uncheck them basically on the product page. You can do that in bulk as well by selecting
all the products are just clicking make available on and then onion ticking google shopping and
Then you essentially take them off from Google and now you're keeping all your bestsellers on one Google campaign
you can do that as well with let's say you have a like 200 500 thousand products and then
You just have five that are top top top bestsellers that everybody everybody buys
Then you just untick everything else from Google shopping and you just keep those five on that Google Shopping campaign
It'll run those products through the Google Shopping campaign
Now your you know a thousand products that you have just those five that you want to actually promote
So that's actually a huge hack that a lot of people really don't know about
It's just you can take it out from Google not take it up from your store. So that's something really cool
That's how I optimize summer campaigns. There's another strategy that I do
on my campaigns
but I
I'm not really sure if I should share that on YouTube is
If this video gets a lot of views and I will share it here
But it's it's kind of more reserved for my inner circle students than anything else
But yeah, that's about it. Those are the three ways a specific keywords to the product tags. There's a game changer
You can absolutely be your competition because you're not guessing
what what keywords are popping up for your actually choosing the keywords by CPC by competition by
By how many people are searching for them? You're doing it very scientifically and then scaling your scaling
Horizontally, so you're not wasting money and you're essentially keeping that cost per action very very long and then the troubleshooting and optimizing campaigns
So that you know, you don't have to take the products out
You can still promote them on other sources
But on Google you essentially keep that campaign pure and fresh without those underperforming products
That's about it for today guys. Three Google hacks for 2019 or you know for years to come if you like this video
Please give me a thumbs up below subscribe to this channel
and in the first thing in the description and the resources section
I have a training free absolutely free training ten minute training that shows you the exact strategy that me and my students use
To make more than fifty to a hundred thousand dollars every single month by combining Google Facebook and Instagram. It's not just Facebook anymore
It's not just Aliexpress on facebook that magic little pill that everybody is trying to sell you on
It's combining them all and you know beating a competition through that. It's not a huntin. It's not an hour-long webinar
It's a 10-minute training. I'm not gonna pitch you anything and then I have a free surprise at the end. It's complete for free
It's all for free
I'm gonna pitch you a product not gonna pitch you a course on this on that training, so don't worry about that
It's not a webinar. It's not fake its it's all real real information with real testimonials. Thank you for watching this video
Check out the other videos here on the channel. If you like this one, it'll definitely like the other ones
There's gonna be a suggestive one called Google ads at the end of this video or in the corner
I don't know one of those two corners
There's an eye a little eye and if you could click that you'll see the Google ads video. So check that out
Thank you for watching. I will see you in the next one
You
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Paneer Bhurji Recipe | How to make Paneer Bhurji | Paneer bhurji recipe in hindi | Cook Show - Duration: 1:22.
Paneer Bhurji Recipe | How to make Paneer Bhurji | Paneer bhurji recipe in hindi | Cook Show
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