AV Geeks 16mm Lunch 5-20-2026

Mhm. >> Mhm. >> Oh, dang. Where am I? I hope that wasn't um black for too long. Uh anyway, so we have these uh film strips and um they don't have soundtracks. This is meant for you to read. And they're not in the the real world, these would not come with beeps. So, I'm trying to come up with a way to I don't know, like have sound so that I have also have a cue um an uh audio cue that it's over. Um >> [snorts] >> But I haven't figured it out yet. So, I'm just using the looped projector sound until [clears throat] I figure it out. So, if you have any suggestions of what type of audio And again, the beep is not appropriate. The beep is only appropriate for pre film strips that have a pre-recorded um soundtrack. And then the beep tells the person to move to the next frame. Now, the problem with that is that with silent stuff, if I did introduce a beep, I'd have to figure out a way to sync it up, which means that I would have to spend 30 minutes to an hour trying to get the audio to sync up for film strips. And I'm not going to do that. I have other stuff in my life. In the meantime, here's a wonderfully baffling Christian film that I haven't shown in quite a while. Enjoy. >> [music] [music] [music] [music] [music] >> Single? >> [music] >> Ah. Ah. Ah. Ah. Ah. Ah. Ah. Ah. >> [music] [music] [music] [music] [music] >> Katrina loves that film. >> [laughter] >> I >> [snorts] >> I love it for different reasons. Um she likes to look at the meaning behind it. I love it because it is difficult to fathom. Really doesn't make much sense. In my mind. But, that's why I love her. Okay. Uh it's time for some more Toot. Toot la bande. And this is episode seven. Um uh sur la Tour Eiffel. Enjoy. >> [music] [music] [music] [music] >> La base c'est le Louvre. Ah ça j'en suis certain. Tu vois le Louvre, ? Oui. Oh, et je vois Notre Dame là sur l'île. Tu as raison, oui. C'est bien l'île de la Cité. Plus loin, c'est l'île Saint-Louis. Donne-moi les jumelles. Caroline, Victor et Élisabeth sont sur la Tour Eiffel. Ils ont un panorama superbe sur toute la ville de Paris. Victor et Caroline font voir à Élisabeth la Seine, les péniches, les ponts et puis les monuments de la ville, le Louvre, la cathédrale Notre-Dame. >> la cathédrale Notre Dame >> [music] >> Ah. le jardin des plantes Où ? à droite sur la rive gauche Mais non, voyons. Ça, ce sont les jardins du Luxembourg. Le jardin des plantes est plus loin. Laisse-moi rire. Je te dis c'est le jardin des plantes. Je vois des éléphants. Deux éléphants et un chameau. Tu es ? Des éléphants, un chameau, ça non. Laisse-moi regarder. Je vois très bien des arbres. Vous êtes aveugles toutes les deux. Tant pis. Mais tu vois la Seine, Élisabeth. Tu vois les péniches sur la ? Oui. Je vois plusieurs péniches. Et puis les ponts sur la Seine. C'est le pont Alexandre III ? Fais voir. Non. C'est le pont de la Concorde. Enfin, Victor, c'est bien le pont Alexandre III. Regarde les statues. Mais non. Avec les statues, c'est le pont des Invalides. Mais non, voyons. Élisabeth a raison. C'est le pont Alexandre III. Le pont de la Concorde est après. Non, je te dis. Le pont de la Concorde est à côté de la place de la Concorde. Le pont avec les statues est le pont Alexandre III. Mais non. Enfin, je ne suis pas fou. Ne vous disputez pas tous les deux. Pardon, excusez-moi, mais je crois que mademoiselle a raison. Comment vous ? C'est bien le pont Alexandre III avec les statues. Ah, tant mieux. Merci, monsieur. Bon. Alors, je me suis trompé. >> Mais si. C'est très gentil de votre part. Je suis ravie de Et moi, je suis ravi de faire votre connaissance, mademoiselle. Jacques Ribaud. Je m'appelle Caroline Hermant. Et voici mon amie Élisabeth. Enchanté, mademoiselle. Et mon frère, Victor. Monsieur. Monsieur. Mais qui ? Un ? Vous connaissez si bien ? Vic. Je suis étudiant. Si je vous dérange, je m'en vais. Encore une fois, excusez-moi. Mais non, restez. C'est nous qui C'est vrai. Écoute, Caro. Il est presque midi, il faut rentrer. Vous êtes ? Pas tellement. Vous voulez qu'on déjeune ? Oh oui, pourquoi ? J'ai terriblement faim. Non, voyons. Il faut rentrer. Oh, Vic, sois gentil. On n'est pas obligé de rentrer, tu sais. On peut téléphoner. On ne peut pas déjeuner ici même, sur la Tour ? Si, mais c'est rudement cher. Et puis, c'est toujours plein de touristes. Et si vous voulez, je peux vous emmener dans un petit restaurant pas très loin d'ici. Quelle bonne ! Vous savez, ce n'est pas très élégant, c'est un petit bistrot bien français. La patronne s'occupe elle-même de ses clients. Et puis, il y a un garçon assez original, et c'est un copain à moi. Allons-y, je suis sûre que ça va être amusant. Sois gentil, Vic, viens avec nous. Bon, si tu veux. Bon, alors, c'est ? D'accord. Allons-y. >> [music] [music] >> Les jeunes filles sont visiblement contentes de a new friend. Victor He remains silent. He sulks. But who is this mysterious man? His name is Jacques. He is a student. My children, I don't understand why you went up the tower and for so little time. Oh, that's a secret. Maybe one day I'll tell you. It's a mystery. If you want. Yes, it's a mystery. We'll take the 82. If it arrives right away, we'll be there in 10 minutes. Here's one. Yes, it's the 82. You know, at 6:00, all the buses are full. No, look, there's room. >> [music] [music] >> Where have the customers gone? We're not eating today. Let's see. It's exactly noon. It's still too early. Oh, look. We have customers. Hello, miss. Hello, sir. Hello, ma'am. >> Hello, Mr. Jacques. How are you? Yes, yes, I'm fine, thank you. Hello, comrade. How are you, citizen? I'm fine, yes. So, we'll take the table in the corner, like we usually Alors on prend la table dans le coin comme d'habitude? Si tu veux, ça m'est égal. Au moins là il n'y a pas de courant d'air. Et bien qu'est-ce qu'il y a de bon aujourd'hui? >> On peut voir? Non, laisse le choisir Jacques, il connait notre cuisine. Salade de tomates, oeufs mayonnaise, sardines beurre, saucisson, pâté maison ou moules marinières. Tiens, ça te dit quelque chose pique? Oui si vous voulez. Je prends les moules marinières pour commencer. Vous avez raison, elles sont très bonnes. On va voir. Pour moi un oeuf mayonnaise. Pour moi une salade de tomates. Je fais comme monsieur, je prends des moules. Un oeuf mayonnaise, une salade de tomates, deux moules. Oh vous permettez? Je vais téléphoner à la maison pour dire qu'on ne rentre pas déjeuner. Pardon. Alors monsieur Jacques, il y a longtemps que vous n'êtes pas venus nous voir. Toujours aussi occupé à écrire? Oh je je ne vais plus souvent dans le quartier. Ah. Et puis j'ai mes cours à la Sorbonne. Ah. A tout à l'heure maman. Oui. Au revoir. C'est gentil de nous amener de nouveaux clients. Pardon. Mademoiselle, monsieur, je suis enchantée de vous voir parmi nous. Merci madame, vous êtes bien aimable. Merci madame. Qu'est-ce que vous prenez ensuite? Dis patronne, laisse moi prendre les commandes. Votre place est derrière la caisse. Tout à l'heure vous allez me dire qu'il n'y a pas assez de travail pour deux. Voyons Maurice. Tu sais bien que tu es indispensable. Indispensable, indispensable. Oui, il est vrai que sans moi cette maison Tu es indispensable, un point c'est tout. Ce restaurant sans le célèbre maître d'hôtel Maurice, pensez donc. Maître d'hôtel maître, disons plutôt esclave. Oh, puis j'en ai assez de tes plaisanteries. Au travail. Qu'est-ce que vous prenez vous ? Moi, un steak. Avec des ? Oui, avec des frites. Une sole grillée, s'il vous plaît. Moi, je prends un steak. Bien, seigneur. Une sole grillée, deux steaks. Comment le voulez-vous votre steak, ? À point, s'il vous plaît. Je prends le coq au vin. Le coq gaulois, symbole de la nation. Et ? Toujours le grand ? Tu préfères le rouge, toi. Oh, ça va. Chacun ses idées. Ne te fâche pas, mon vieux. Je te trouve drôle, toi. Plutôt, oui. Maurice et moi, nous nous comprenons bien. Pas vrai, ? En effet. Une œuf mayonnaise. Une salade de tomates pour moi. Les ? Voilà. Voilà. Bon appétit. Voilà un pichet rouge et un pichet de blanc. Le vin est compris. Tu le sais bien, toi. Ce Maurice. 400 ? Bonjour la compagnie. Une lettre pour vous, patronne. Lettre recommandée. Ah. Veuillez Ah, pardon. Voilà. Merci, au revoir. Alors, c'était ? C'était très bon, excellent. C'était très très bon. Et les moules, hein, ? Pas mal. Il n'est pas très poli. Moi, je le trouve très amusant. Bonjour, monsieur. ? C'est pour déjeuner, ? Oui, peut-être, mais j'attends quelqu'un. Ah, très bien. Vous prenez quelque ? Oui, bien sûr, un San Pellegrino. Un San Pellegrino. Steak à point. Merci. Sole grillée. Merci. Steak saignant. Coq au vin. Rouge, mais couleur lie de vin. Coq au vin rouge, mais couleur lie de vin. Bravo, Maurice. Voulez-vous un ? Non, non. Oh, oui. Bonjour. Bonjour. Excusez-moi, je suis un peu en mais Mais non, pas du tout, je viens d'arriver. Asseyez-vous. Vous prenez quelque ? Oui. ? Qu'est-ce que vous allez prendre ? Où est le ? Je le connais par cœur. Salade, fromage, tarte aux pommes, glace, fruits. Franchement, j'ai assez mangé. Un café seulement, s'il vous plaît. I can't see you play. I can't see you play. I can't see you play. I can't >> [laughter] >> see you play. I can't see I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see I can't see you play. I can't see you play. I can't see you play. I can't see you play. I can't see you play. >> [laughter] [music] [music] [music] [music] [music] [music] >> The further adventures of uh our young adults uh making their way through Paris. All right. Um I don't know if you noticed you uh it was very brief in the beginning, but I found a new uh intro film to loop, and this one's a no-brainer. This uh is it shows a kid um well, it has this wonderful shot of this darkened classroom with a kid at the projector in the class watching. And this is uh how to use classroom films. I don't think I've shown this in a while, um but it's still good. Um it's good because it has this [clears throat] amazing AV space that I would love to be able to have a giant warehouse that I could duplicate this uh AV space. Uh this is how to use classroom films. Enjoy. >> [music] [music] [music] >> The room lights are dimmed, the projector is running. The classroom has become a setting for use of a very effective teaching tool, the classroom film. Yet what these young people learn and how well they learn it rests largely with how the film is used. It does work. We've constructed an electric motor from a few simple materials. Let's review what happens by looking at a diagram. Here is the permanent magnet. Like all magnets, it has a north pole and a south pole. Here's the block of iron with the coil of wire around it, an electromagnet. The coil of wire is attached to wires leading to a dry cell. When current starts to flow, the coil becomes an electromagnet with north and south poles. These poles of the electromagnet are attracted by the poles of the permanent magnet and the block of iron turns. If we reverse the direction of the current in the coil by changing the dry cell connections, the north and south poles in our electromagnet reverse. This puts two north poles together and two south poles together. Since like poles repel each other, the electromagnet until opposite poles are attracted to one another. If we add the automatic switch to our diagram, it will look like this. Now, if the wires are connected to the dry cell, the motor will continue to rotate in one direction. >> For a science class concerned with how an electric motor works, a classroom film has illustrated a complex process in simple, understandable terms. The film, as is often true, has proved itself an effective and valuable teaching aid. This is particularly true when the film has been carefully selected for content and when the students have been correctly prepared for viewing the film. Activities which follow the film are also important. Activities such as a post-film discussion. Now, can someone explain to me the function of one of the basic parts of the electric motor? Danny. Well, without that automatic switch, the part called the commutator, the motor wouldn't make a complete revolution. Do you all agree with Danny's statement? Uh George. Yes, I do. Because on the diagram, you could see that the commutator reverses the current. If it didn't, the motor action would stop. All right now. From what we've seen in the film and talked about, can someone give me the definition of a commutator? Sharon, give me your definition. A commutator is a device for reversing the direction of a current. The film has been used to convey information and to stimulate deductive thinking. This kind of discussion of content is as much a part of using a film as the actual showing of it. For a film, however good it may be, is still only teaching tool and depends for its greatest effectiveness on how it is used by the teacher. Effective use of a film begins days, perhaps even weeks, prior to the showing when the teacher selects the film. The director of her local instructional materials center can often provide helpful advice about which of several films in the same subject area will best suit the teacher's purpose. Of course, one may have to rely on the resume in a catalog to determine a film's content as well as its running time. The important thing at this point is that selection is not a hit or miss affair, but keyed to a lesson plan and made on the basis of the best information available about a film. The next step you as the teacher take in using a film is to become familiar with it yourself. If the film is available to you for only a short time, you may have to limit your own preparation to studying the teacher's guide for the film if it is available. Here you will find usually a more complete description of the film's content than is possible in a catalog or file along with the questions you may want to ask following the showing of the film. Comments from previous users of a particular film, if they are available, are also helpful. An ideal way to study a film and prepare to use it with your class is to preview it with pencil in hand taking notes as the film progresses. It can be a real help to have one or more of your students in the preview room with you. As they watch from a viewpoint which is different from yours, they will detect new or unusual words or situations which may require explanation before the film is shown to the group. They may also reveal interests a teacher may use to motivate the entire class. Well, Billy, was there anything you didn't understand? Well, I don't understand why the farmers and cattlemen had to fight so much. Why couldn't the farmers just settle and plant their crops in areas where the cattlemen were located? Mhm, how about you, Mary? Any words you didn't understand? Well, blotted something. Blotted stock, I think it was. Creative teachers have many ways of developing class readiness for seeing a film. Preparation often starts the day before. Unusual words may be defined beforehand. You recall that yesterday we talked about the problems of settling this large area of our country known as the Great Plains. Today we're going to see a film that shows us those problems very clearly. Of course when the Great Plains were being settled in the 1850s and 1860s, the movie camera had not yet been invented. So in this film we get the story as we look at famous paintings and drawings made by artists who were there at the time. Now Cathy, do you recall the problem about the Plains area that we discussed yesterday? Well, there was constant fighting between ranches and farmers over the use of land. So neither of them could become really prosperous. And we decided that this situation kept many people away who might otherwise have come and helped to settle the Great Plains. Yeah, very good summary Cathy. Now in this film we're going to learn about some other problems that face these people and what they finally did about them. Afterwards, I want you to be able to identify and discuss the problems and to describe how the eventual solution of these problems affected our country's history. All right, let's have the film. It wasn't like the days when cowboys fought Indians. Between cattlemen and farmers nobody had the what for to make the difference. Both had six-shooters and both could use them. Peace depended it seemed on finding a cheap and practical fence. Some tried a thorny hedge, the Osage orange for fencing. And it was pig tight, horse high, and bull strong. But it took four years and more to grow. Others tried just plain old wire. But cattle shoved right through it. And the search continued. The search for a fence that would combine the low cost of wire with the thorns [music] of a hedge. >> [music] [music] [music] >> In 1874, Joseph Glidden, a 60-year-old farmer, was granted a patent for a barbed [music] fence wire that worked. The following year, Jacob Haish received a patent for [music] his improved S barb steel fence wire. Both methods were practical and inexpensive. The West got its fencing, but the new fences blocked off the cattle trails to the railroads. And there were some who resisted the changes on the plains brought about by barbed wire. Some fenced off water holes, forcing others to become fence cutters. But the bark of six-shooters diminished. Laws were passed to protect both sides. And in time, barbed wire turned out to be a blessing to the cattlemen, too. They had built their industry on the native Texas longhorn, a tough, mean, ornery critter, as tough on the table as he was on the range. With barbed wire fencing, the cattlemen could separate their herds, introduce blooded stock, and supply the demand for better beef. Soon, the Great Plains became a new land. The railroad, the Colt revolver, the artesian well, the windmill, new ways of farming dry land, and of course, barbed wire enabled our country to settle the vast interior. To turn what was once the Great American Desert into rich fertile farmland. Who can give me some reasons why the invention of barbed wire was so important to the development of the Great Plains? Jimmy? Well, the barbed wire helped both farmers and cattlemen because they could keep the cattle where they were supposed to be and the farmers could do more farming and less fighting. Yes, and this was the only kind of wire fencing ever invented that could do the job, wasn't it? Why didn't they build wooden fences? Karen? There wasn't any wood. Yes, that's right, Karen. Now, I think it might be interesting to find out why there was no wood available in the Great Plains area. This will take some research. So, Karen, you, Betty, Tom, and Alan prepare a report on this. We're all going to spend some time reporting on other aspects of this subject, too. Who would like to find out more about the benefits the barbed wire fencing made possible for the cattlemen? Bob? Well, I recall the film mention something about separating the herds and introducing blooded stock. I'd like to know more about this. Okay, Bob. You team up with George, Bessie, Elaine, and Frank on that question. There are many ways to conduct post-film activities profitably. The objective should always be to use the film as a springboard to learning, understanding, and creating. Assigning a research project on a topic related to the film will help the student to form relations of ideas, concepts, and facts and thereby provide creative learning experiences. In any review of effective use of classroom films, we should not overlook the importance of physical details. For example, proper arrangements for seating, lighting, ventilation, and placement of equipment. Also, if you plan to run the film yourself, check ahead of time to make sure you are familiar with the projector and its operation, how to thread it, and how to operate the controls. Where these details are handled by a student projectionist, it is still important for you to make sure that these arrangements are made beforehand. All these physical details may contribute or detract from the showing, and hence they are relevant to the creative use you make of a film as a teaching tool. Remember also that since using a film is part of a creative process, the steps you take reflect your own creative ability. The first point at which you put your creativity to work is in the selection of the film, choosing it for your purposes on the basis of your evaluation of it for the effectiveness with your students. The second point is the key to all the steps following it, your own preparation for showing the film. This is the point where you decide whether you will show the film all at one sitting or use only an excerpt which applies to the particular topic being studied. It is the point at which you make final plans for how to use this teaching tool. At the third point, class motivation, you develop readiness for viewing the film. This may be a simple procedure of telling your students the title of the film, why they are seeing it, and some idea of what they are expected to learn from it. Or it may be as elaborate as using other teaching techniques over several periods leading up to the showing. Point four, the showing of the film, when the creative process is seemingly out of your hands, still reflects your guiding role, particularly if you decide to repeat the showing of the film or to shut off the projector at a certain spot for a predetermined reason. At point five, the creative teaching aspect comes into full play for student participation includes all the follow-up activities which round out your film. Discussion, testing for content, research work, report writing, problem Any or all of these post film activity of are your contribution. And it is your contribution which is the single most important factor in using a classroom film. >> [music] [music] >> So that shot of the the AV um library with a big you know, it's kind of the white background and has the the it it's just beautiful. I'd love to recreate that somehow at some point, maybe. Maybe I will paint it on the film vault door. Uh we'll see. Uh Oh, yeah. Did I show you this? I can't remember if I showed you this. If I did, I apologize. But uh some of these German films of Spiegel uh German language films that we got recently, it had uh refile and dungeon >> [laughter] >> on it. So it's like I'm sure somebody designated a horrible uh space that where films went to die um as the dungeon. I don't know. But uh pretty great nonetheless. Uh the main question I have for you is uh Why not be beautiful? I haven't shown this film in quite a while. It has uh sparked an amazing controversy and I have shown other films similar to this from Prelinger Collection. Um Why not be beautiful? And it uh it has [clears throat] a click-baity part to it, which is great, which is like, "We'll tell you how to do this uh later in the program." Enjoy. >> [music] [music] [music] [music] >> The search for beauty [music] is timeless. To every girl, [music] to every woman, the way she appears to others is of great importance. But, the paths leading to beauty [music] are not always easy to find. How many signposts to follow to real beauty? How do I get to be beautiful? Every young girl can become beautiful >> [music] >> in the true meaning of the word. What then is beauty? The dictionary defines it as a quality that inspires admiration, [music] pleasure, approval, a quality and grace that exalts the mind or spirit. In other words, beauty is many things, both looks and personality. Beauty indeed is more than skin deep. The most important part of beauty comes from within, the inner beauty, the healthy mind, being interested [music] in life and in the arts, >> [music] >> caring for others and being involved in the issues of your community and your country, being creative, >> [music] [music] >> being active. The more you're interested in the world around you, the more interesting [music] you become, and that's an important part of beauty. A healthy mind [music] needs a healthy body, and a healthy body needs a good diet and cleanliness. The type and amount of food you eat usually controls your figure. Also, it affects your skin. Arm yourself with [music] a calorie counter and you may find some surprises. But there's one [music] trick. The models use it. How to lose 5 lb in 5 [music] seconds. Be patient. We'll show you later. Overloading your body with [music] skin poisons can make you break out on your face. You don't have to cut out these things, >> [music] >> but cut down. Instead, eat plenty of lean meat, fruit and vegetables, and drink lots of liquids. What you eat affects also your teeth, >> [music] >> and good teeth are essential for one of the most effective beauty aids, your smile. Take care of your teeth while you're young. It will save trouble later. Exercise is imperative for your good health and your appearance. Special exercise may help certain trouble spots of your figure. But it's more fun to get your exercise while you play. >> [music] [music] >> Also, it's a good way to make friends. Swimming is a good tune-up for the whole body. >> [music] >> And a brisk walk a day keeps bulges away. A beautiful complexion is one [music] part makeup, nine parts cleanliness. >> [music] >> When you want to remove makeup, use a cleansing cream. Then proceed as usual, cleaning your face with [music] a mild soap. Then with your fingertips, gently work the lather into your skin, giving your pores the deep down [music] cleaning they need. Pores are openings in our skin through which oil or perspiration flow. If an opening becomes clogged up, the oil is trapped and hardens, forming a [music] blackhead or a pimple. The best remedy? Cleanliness. After washing, rinse off all the soap with lukewarm water >> [music] >> and pat, not rub, your face dry with a clean towel. Most teenage girls or may not [music] be enough for proper cleansing of the pores. Special cleansing lotions are available for such skins. Don't use [music] alcohol for cleaning. It robs your skin of important nutrients. It is very important to avoid excesses in exposure to the elements. Above all, the burning [music] sun. Always protect your skin with a suntan lotion. Too much sunbathing ages your precious [music] skin. Women have used cosmetics as far back as recorded history can take us. >> [music] [music] >> So, makeup became a way of life for the [music] modern girl in many parts of the world. And certainly in the United [music] States. Today, the cardinal rule is go easy. Or the results can become ludicrous. Take advantage of what's there. Accentuate the good points. Minimize the others. [music] Optical illusions can, in many cases, produce the wanted effects. A dark spot [music] surrounded by a light field will seem smaller than a light spot surrounded by a dark [music] area. For example, a light base will make the eyes look smaller. >> [music] >> A dark base will make them appear larger. Foundation is used as a base for the rest of your makeup. [music] It also serves to add or tone down color. >> [music] >> Is effective in hiding small defects and acts as a protection against dirt, sun, and wind. [music] A liquid or light cream is recommended except for Negro or Oriental girls who may prefer a cake makeup because it contains less oil. Work the foundation [music] from the center of the face toward the hairline using [music] gentle upward strokes. Make sure it's blended evenly. Cosmeticians will guide you in your color [music] choice. A foundation with a pink glow will brighten a sallow skin while a reddish [music] skin can be toned down with a beige foundation. Blot off [music] excess with a tissue. If you have disturbed skin medicated [music] makeups are available. Dark circles under the eyes [music] are often caused by not enough sleep and lack of iron. To cover them up use a foundation two [music] or three tones lighter than your base or a highlighting cream. Blush is applied [music] to give cheeks a quiet glow. A good rule to follow is never let blush come nearer the nose than an imaginary line dropped vertically [music] from the center of the eye. Blush should be applied from [music] the center of the cheek outward and up into the temples. Blushes can [music] also be used for contouring. Example a tone three shades darker than the foundation can be used to point up a cheek bone or diminish [music] a wide jaw. Powder sets and blends your makeup. The simplest powder to use is a colorless [music] translucent one. Pat on liberally. A tuft of cotton that can be thrown [music] away is the best powder puff to use. Wait for the powder to set. Then with [music] another clean powder puff, brush away excess with downward [music] strokes. Eyebrows frame the eye and focus interest [music] on them. They are also important in the shaping of the nose. Pointed eyebrows can make a nose seem longer. To remove straggly brows, lubricate them [music] with Vaseline or baby oil and pluck with tweezers. Never pluck eyebrows further than the line even with the inside corner of your eye. Other plucking should be done under the brow >> [music] >> and never above it. The color of your eyebrow pencil should be as close as possible to your natural color. Only the darkest brunettes should use a black pencil. The highest point of the arch should be a straight line [music] from the outer edge of the iris. The tapered [music] end of the brow should form a straight line past the outer corner of the eye to the side of the nostril. >> [music] [music] [music] >> Blend pencil strokes into your brow with a clean mascara brush. Mascara applied [music] to lashes would complete the well-groomed eye and is sufficient [music] eye makeup for the early teens. However, if you wish to give more attention [music] to the eye, you may use the following procedure. A lid highlight with a creamy pale shade [music] is flattering to most eyes. Never wear bright, obvious evening colors. >> [music] >> For contour and emphasis, a taupe or brown shade is placed into the lid crease and just above the lid. For protruding eyes, a dark shadow [music] on the lid will make eyes seem less prominent. For deep-set eyes, a white or very light shade on the lid will make the eyes seem more prominent. The three pairs of eyes [music] are exactly the same distance apart. These eyes seem to be closer. The effect was achieved by concentrating the shadow towards the nose and by bringing the eyebrows closer together. >> [music] >> Here, the illusion of widely spaced eyes is created by placing the shadow and brows outward and far apart. >> [music] >> A gleam of pearly white or beige on the bone just beneath the brow emphasizes the bone structure. Eyeliner is used to make the lashes [music] seem longer. There should be no hard, obvious line. >> [music] >> Apply as close to the lashes as possible, and remember black can only be worn by girls with very black [music] hair. A flattering shade for blondes or brunettes as black [music] adds harshness to the eye. Mascara makes [music] lashes look longer and fuller. Incidentally no amount of eye makeup will help if your [music] eyes are drowsy and lack luster. To be wide-eyed and alert a full measure of sleep is necessary. The right [music] food definitely relates to the clearness and sparkle of your eyes. Vitamin A and plenty of water are essential [music] for this. After the mascara separate the lashes with a clean brush. The generally accepted age for wearing lipstick is about 14. A subtle color is the most becoming. >> [music] >> To apply lipstick prop your elbows firmly on the table supporting [music] the chin with one hand while steadying the action with your drawing hand. Start from the center of the upper lip drawing a smooth curve to the outer corner. On the lower lip start at the corner and come to the center [music] with a brush laid flat. Fill in with the brush or the lipstick itself. Blot the excess. For a softer, smoother look apply a lip gloss. Remember [music] lips need protection as well as the skin. If [music] you prefer not to wear a lipstick, do wear a lip gloss. Lip shapes can be changed. For example, >> [music] >> thin lips can be corrected by over painting. Thick lips can be narrowed by covering them with base, then [music] using color only toward the inside of the lips. Too wide lips can be made less obvious by covering the outer corners [music] with base. Skin blemishes cannot be entirely avoided by most young girls. >> [music] >> Makeup can conceal them, but a healthy diet and cleanliness can often prevent them. Most important, never pick [music] or squeeze a blemish. It makes matters worse. >> [music] [music] [music] >> Your hair is the crowning glory and deserves the best of care. A hundred strokes [music] a day rule still applies. It makes your hair more attractive. Also, it improves the health and body of your hair and scalp. Seafoods which are rich in iodine [music] add luster to the hair. Choosing a becoming hairstyle for [music] you is the nearest thing to instant beauty. Simple, natural hairdos will never be [music] out of style. Shopping for your wardrobe is lots of fun, but keep in mind some basic [music] rules. Use colors that go well with your skin and hair, and dress for the occasion. [music] Dress for your figure, But, there are still many do's and don'ts on the way to become a complete, attractive [music] person. Cultivate a relaxed, pleasant voice. Speak correct English. [music] Don't talk too much or too loud. Sometimes it doesn't go over too well and for good reasons. And keep in mind, listening is often more [music] appreciated than talking. Smoking? No. Don't talk with your hands. You look much better [music] this way. And all the makeup in the world couldn't make up for this sort of thing. Don't sit in a lazy, clumsy way. Do sit gracefully. Oh, yes. You still want to know how to lose 5 lb in 5 seconds? By simply standing correctly, this girl has lost 5 lb almost instantly. Don't walk sloppily. The way you walk is a cue to your personality. [music] Walk smartly. If you need glasses, let them help you. The right frames can be very pleasing. Improve your looks as much as you can. [music] This is not conceit, but good common sense. It will help you in your social life >> [music] >> and later in getting a job by giving you more self-confidence. >> [music] >> Above all, remember the beauty [music] that shines you from within. Your inner beauty is your most beautiful, most precious [music] possession. Beauty is more than a pretty face. >> [music] >> It's a way of life. >> [music] [music] [music] [music] >> What was that woman's name? Irene Zermerchery? Or Zermer Zermercherich? Zermer green? I see M something is crazy. Uh thanks for watching today. Appreciate your eyeballs. Cammy Bride, thank you for the donation. Uh they donated via the super thanks button. Um but other [snorts] ways you can support us is by subscribing, hitting thumbs up, even if you've done it before. Just keep doing it. It's like you're By doing the thumbs up button, you're keeping us alive. You know, like pumping us a little bit of oxygen so we can survive the next show. Um you can also donate via the Patreon uh dot com {slash} AV Geeks. Uh and we've been doing special content for them, which we haven't been putting on YouTube. Uh Venmo, of course, skip at dot alzheimer at skip dot dash alzheimer. Oh boy. Uh buy us coffee at {slash} AV Geeks. Um we'd love your feedback. 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