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There's a huge drive towards technology deployment today, massive programmes that are trying

to build efficiencies and to automate systems.

However, the real opportunity and the way we approach the challenge is to understand

what the human perspective is for both the delivery of those processes and systems and

the experiences they create.

Classic research is founded around a question and answer and the answers that you get aren't

always accurate or true.

People aren't deliberately disingenuous.

But they won't always tell you they really believe the way they really behave.

We solve that problem by using anthropologists in the field with a long period of time observing

and participating in those lived experiences.

For more infomation >> Can Social Sciences Help Understand Customers Better? | Leading in Digital | Cognizant UK & Ireland - Duration: 1:55.

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SMS for Life - bringing digital health solutions to rural communities - Duration: 0:47.

Stockouts of essential medicines remain a huge challenge in remote health facilities.

SMS for Life uses mobile and digital technology to increase quality of care in rural communities.

Health facilities report weekly drug stock levels and disease surveillance data using a smart phone or tablet.

The information is synchronized in real time, and reports are automatically sent to district medical officers.

Timely action can then be taken to replenish stocks of medicines and vaccines.

Novartis is leading SMS for Life with public and private partners.

For more infomation >> SMS for Life - bringing digital health solutions to rural communities - Duration: 0:47.

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These Neural Networks Empower Digital Artists - Duration: 3:14.

Dear Fellow Scholars, this is Two Minute Papers with Károly Zsolnai-Fehér.

In this series, we have seen many times how good neural network-based solutions are at

image classification.

This means that the network looks at an image and successfully identifies its contents.

However, neural network-based solutions are also capable of empowering art projects by

generating new, interesting images.

This beautifully written paper explores how a slight tweak to a problem definition can

drastically change the output of such a neural network.

It shows how many of these research works can be seen as the manifestation of the same

overarching idea.

For instance, we can try to visualize what groups of neurons within these networks are

looking for, and we get something like this.

The reason for this is that important visual features, like the eyes can appear at any

part of the image and different groups of neurons look for it elsewhere.

With a small modification, we can put these individual visualizations within a shared

space and create a much more consistent and readable output.

In a different experiment, it is shown how a similar idea can be used with Compositional

Pattern Producing Networks, or CPPNs in short.

These networks are able to take spatial positions as an input and produce colors on the output,

thereby creating interesting images of arbitrary resolution.

Depending on the structure of this network, it can create beautiful images that are reminiscent

of light-paintings.

And here you can see how the output of these networks change during the training process.

They can also be used for image morphing as well.

A similar idea can be used to create images that are beyond the classical 2D RGB images,

and create semi-transparent images instead.

And there is much, much more in the paper, for instance, there is an interactive demo

that shows how we can seamlessly put this texture on a 3D object.

It is also possible to perform neural style transfer on a 3D model.

This means that we have an image for style, and a target 3D model, and, you can see the

results over here.

This paper is a gold mine of knowledge, and contains a lot of insights on how neural networks

can further empower artists working in the industry.

If you read only one paper today, it should definitely be this one, and this is not just

about reading, you can also play with these visualizations, and as the source code is

also available for all of these, you can also build something amazing on top of them.

Let the experiments begin!

So, this was a paper from the amazing Distill journal, and just so you know, they may be

branching out to different areas of expertise, which is amazing news.

However, they are looking for a few helping hands to accomplish that, so make sure to

click the link to this editorial update in the video description to see how you can contribute.

I would personally love to see more of these interactive articles.

Thanks for watching and for your generous support, and I'll see you next time!

For more infomation >> These Neural Networks Empower Digital Artists - Duration: 3:14.

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HOW TO MAKE A MANGA PART 3 [Inking the Pages! Digital or Traditional?] - Duration: 12:20.

In the previous video I went into all the details about how you can draft your manga two pages in today's video

I'm going to be talking about different kinds of manga inking techniques

I'm

Also going to be showing you the process of how I earn my manga pages in paint tool Sai if you're new to my channel

Hello welcome. My name is Midnight cross

I am currently in the process of making a single volume manga titled having faith

And I'm also in the process of making a manga series that I've been working on since I was about 13

called reflections through time the Manga page that I'm going to be inking in today's video is going to be an example page from my

project having faith in

this scene

Willow

The main character from my manga project having faith has just been adopted from an orphanage and is being taken to her new home

The page that I am inking in this video does not make sense on its own

but in this scene, it is a necessary page, which is why I wanted to show the full scene for

clarification

After I scan the page and upload it to my computer. The next phase is the inking phase

There are a couple of different ways that you can choose to ink your manga you can ink it all by hand all

digitally

or you can try a little bit of both techniques the tools that I use when I ink manga by hand are

outline 300 pens with small millimeter nibs big fine point pens and markers

For large surfaces and also loved Sharpie markers

Wideout is also really really important if you want to get rid of mistakes, or if you want to add highlights to your page

Some manga artists prefer to use actual nib and pens which is fine

But they do take a lot more control and caution

If you do decide to use that

To ink your manga so it is not something I recommend if you are still a beginner to inking manga pages

I recommend trying something that you have a lot more control over

You can also add screen turns by hand with screen turn pages

This is the most common way manga artists create manga pages in Japan

You can just by screen turn pages online on sites like eBay or other artists websites

I have never used screen turn sheets myself

So I don't understand the pros and cons of using them

but it is definitely something that worth considering before you get to work on your manga pages and

Just try a lot of different techniques to see what works for you

After trial and error, I decided to ink my manga pages digitally and this is for a number of reasons. It was a lot more

practical and efficient for me to ink manga pages on computer rather than trying to set up my desk and tools

to ink manga pages by hand

It took me much less time and it was also a lot easier to correct mistakes

And add darker tones where I wanted to whereas by hands

It would take me a lot longer to make it certain areas darker or to correct mistakes if I did make an inking mistake

I also found that when I ink the manga page and standard

the skin did not turn out at the same level of quality as the traditional pages looked like that's probably just the Falls of

My scanner because it is quite an old scanner

But it was still a problem and I really wanted to keep the quality in the image

Through for the whole page not let it lose. Its quality the moment it gets scanned onto the computer

another reason why I did prefer inking the pages digitally rather than traditionally it was that on the computer I could zoom

Right into the page and get all of all of the little details

Whereas if I did it by hands, I could lose some of those details if I did not use a fine enough pen

There are pros and cons to inking your hand digitally all by hand

But what I recommend is you try a couple of different methods yourself and just see what works for you

it

Is really important to just try a couple of different techniques

Just before you decide on a set style for your manga because that's going to be the style for your whole manga

So you really want to make sure it is a style then you can draw and efficiently and a style that you really enjoy

For my manga pages I use paint tool Sai. I

Use it because it is a program familiar to me and I have used it for many many years

So I have a lot of practice in and I just understand the program really really. Well, I

Opened my draft page in paint tool Sai and then I lower the opacity of the page to about 20%

It depends on how dark the pages and how dark the scan is, but that's usually about the amount

I put it and I can always change that if it doesn't quite show up

Next I open a line work layer and I ink the outside borders for the panels

Then if necessary are open another line work layer and I ink the straight lines and edges in the scene

like lines for furniture or lines in the backgrounds

basically, I just inked the stuff that I can't draw by hand neatly and

The things that need a really straight or really nice curved edge. I

Used the curve tool for lines like this

even the straight lines

because I could just hit the Escape key when I am finished and I find it a lot easier to use and then the

Straight line tool for some reason just the curve tool means I have a lot more freedom to make the line

Look how I want them to

Once I have fully inked all the straight edges in the picture

I open up a plain layer and I use the pen tool

Make sure the density is on 100 before starting because sometimes it does lower for some reason. I don't know why

But just make sure it's on 100 and make the color solid black. I

Then carefully ink all the lines in the picture

If I come to any areas that need adjustment I carefully adjust and change the lines before moving on

This is my least favorite part of the inking phase just because it takes a lot of patience for me

There are a lot of times where I need to undo and fix the lines and just redo the lines

But after it's finished, it is really satisfying to see the fully lined page

So once I have finished inking all the lines

I then turn off the underneath sketch layer and I check the line art for any spaces or things. I did not Inc

Once I have finished checking the page, I open a layer underneath all the line art layers, and this is my solid black layer. I

Use the magic wand tool to select all the areas that I will color solid black

It is really important at least to me to have solid black areas because it adds depth to your pages

It makes certain areas stand out and it also adds a certain atmosphere to areas

I use solid black for dark shadows dark clothing and other areas

For smaller areas, I use the Select pen after I have darkened all the areas

I want to I add another layer underneath the black layer for screen timings. I

Add the screen turn through the textures drop-down box. I set the opacity to 100 and the size to 50%

Paint hillside comes with several screen turns, but you can also install screen turns

I've had this program for so long that I unfortunately can't remember where I got these turns

I may have made them myself at some point, but you can find many paint tool Sai

And patterns on websites like Debian art for free download

If you plan on publishing your manga at the end check to see if it is okay for commercial use first

Then I choose a light gray color

With the screen turn texture on and I use the magic wand tool to select all areas where I will use this shade

I then use the bucket tool or a really large color brush to quickly fill in all those areas

Then I choose a darker gray color and I do the same process. I leave certain areas white for lighter areas

I will come back to look at those a bit more later. I

Then open another layer above the black area

For blond hair I use light brush strokes to ink it you can also use a light green screen tone if you prefer

But I really do like the light brush stroke technique

I think it makes it look a lot more natural and it gives it that little tradition of touch as well

it takes a lot of time to incre and a lot of patience but is actually one of my favorite parts of

The inking process and I really like how the final result looks

for the rest of the page

I use a Krotz cross hatching type of pen technique and little lines to add texture and extra shading to the page. I

Use this for wood textures as well and it just creates a really nice effect and it helps the whole page to look more interesting

Now that I have finished doing the basic inking I go over the page and look for areas

I

could add some extra shading to I usually make an extra layer for this and add screen turns over those areas in

A gradient style. So I just blur it out with the water blur tool if

The page needs a little extra

I sometimes make another layer over the page

Put the thing to multiply and add a light gray gradient screen turn over the whole page or in certain darker areas

the final stage of my inking which I don't always do but it does help of some pages is I add white tones or

little white

highlighted areas to make the page pop I

Open the layer above all the others and I use the color pen

I make the color white and then I add white spots to areas of the page. I

Do this with fire and sometimes with the lights on how and shiny areas things that need a little extra shine

Now the inking for this page is complete

I save the side file, but I also save a JPEG file to a file titled inked pages

Sometimes this is all the page needs, but when a page has extra dialogue or sound effects, I need to open it in paint.net

Paint under is great for editing pages like this for my dialogue. I use Lafayette. Comic Pro font

I like this font because it is a free license font

Make sure when using a font that it is okay for commercial use

use a font that suits the style of your manga or comic I

Open a layer above the drawing on paint.net and type the dialogue using the text tool and move the text to fit the speech bubbles

once I have finished writing the dialogue, I open another layer below it and with smaller writing I write sound effects if any I

use the selection tool to make them smaller or put them on a slight angle around the characters and

Now the page is completely finished and I save it

So that is my process for inking pages and I hope the tips and tricks I gave you in today's video

Helps you decide the way that you want to incur mega pages, wherever it be digitally by hand or a mix of both

Let me know in the comments below. How you

Incur mein the pages because I'd love to know it and I'd love to hear about your projects

Thank you so much for watching my video today everyone

I really really hope it helped you in the final part of this video series

I'm going to be talking about how you can publish your me

I'm going to be talking about the pros and cons of publishing it self publishing it and

Publishing it as a webcomic

Thank you again for watching. I hope you have a fantastic week, and I will see you in the next video. Bye