Okay, good morning, good afternoon and good evening everyone. Welcome to the peer-to-peer exchange human rights education displacement context. So my name is Elisa Gadzotti and I'm the co-chair of the task team on human rights engagement, and today I will be moderating this session. Before starting, I would like to invite Valerie to give some words. Over to you, Valerie. Thank you so much, Elisa, and thanks to Sogagaca International for taking the lead in organization of this peer-to-peer exchange. And I would say it's a very important one for us humanitarian actors, because we do a lot on the work with communities, sensitization of communities, awareness raising campaigns, accountability to affected population, et cetera. But we don't put enough accent or importance to raising awareness of the affected people, displaced persons on their human rights, so that they can really be at the center of our response, humanitarian response, but also to empower them and have much more sustainable response. So it's quite a new topic for humanitarians. And you can see that, you know, we have relatively less colleagues today joining, and I'm openly saying it, because I guess when colleagues say, okay, human rights education, how does this relate actually to my work, you know? It's as a humanitarian, what is my role in that? And this is exactly the issue, and we discussed that several times in the human rights engagement task team. We need to do much more. We need to start with raising awareness amongst us, amongst humanitarians, and this is where Sogagakai International Expertises were useful in bringing together actors, discussing it, and slowly, slowly trying to change the mindset of humanitarian actors to be more proactive, not to be afraid, not to perceive it as something too sensitive, too, et cetera, ready to focus on how we can empower people to know more about their human rights, how to have human rights-based approach to our programs in that regard and take it forward. So thanks again, Elisa, for taking this forward in the human rights engagement task team. Welcome to colleagues and back over to you. Thank you so much, Valerie, and again, welcome to everyone. So as Valerie mentioned, it's the second time, actually, we are organizing this kind of exchange, and the aim is really to building on the webinar that we had last year on 17th of June on human rights education in the humanitarian context and on the training session engaging with the effective population of the Capacity Building Program that we developed last year. The aim of today to peer exchange is really to address the key role of human rights education for humanitarian workers, focusing on existing challenges and opportunities, sharing concrete case studies on human rights education for displaced people, and tackle needs and gaps of human rights education in the protection cluster context, identify if there is an interest in devising a possible project. In addition, we would like to take this occasion to officially launch the training model that we developed on human rights education in displacement context. If you can put it up, Peter, please. And Valerie has shared already this model via email, but please do not hesitate to contact us if you have any comments or question, or if you would like to use it in your activities. Now, I would like to introduce you to the agenda of today. First, we will have Paulina Tandiono, Associate Human Rights Officer at OHCHR, that will introduce the concept of human rights education. Then we will have Abdelaziz Abdelaziz, Human Rights Advisor to the Resident Coordinator or Humanitarian Coordinator in Syria. We'll address trainings for humanitarian actors in the Syrian response. Then we will have Kate Tarnerman, Manager of Capacity Development Asia Pacific Forum, that will speak about the human rights education approaches in the context of displacement. And then we will have Ekat online that will come from the Indonesian National Commission on Human Rights, introducing the case study of human rights education and displacement. After this, as we are not so many, I would suggest that you can raise your hand or write in the chat, introducing yourself so that we can actually really have a more open conversation and discussion. So now over to you Paulina. Thank you. Thank you very much, Elisa, Valerie, thank you very much for the Human Rights Engagement Task Team at the Global Protection Cluster for inviting us, for having me here. So as Valerie stated, the topic of human rights education could indeed be perceived as something new for some colleagues. So that's really my role here today, which is to introduce to some of you who may find this topic new and who have not worked on it on what actually human rights education is, what are the basic principles and how OHCHR can offer in terms of providing materials and resources in this area. So I'm just going to share my screen and Elisa or Valerie, please let me know when you can see my screen. Yeah, all good. So basically today I will just cover some definition and basic principles of human rights education and how actually human rights education and training has been having increasing prominence on the UN agenda. So I will also explain some initiatives and how humanitarian actors in displacement contexts can make use of these two programs or initiatives. So firstly, human rights education, some of you may be wondering why are we even talking about the definition of human rights education? Isn't that obvious? Human rights education means, okay, education about human rights. The answer is yes, but not only. So human rights education as defined by, you know, UN declaration for human rights education and training, it transforms knowledge and develops skills and attitudes that encourage behavior that will promote and protect human rights. So the key word here is skills and attitude to encourage behavior to promote and protect human rights. Meaning it's not enough. A true human rights education effort is not only aiming to impart knowledge about rights, but it is also aiming to develop the skills and attitudes of people so that they can promote and protect human rights. They can claim their rights. They are empowered to take action on human rights. So now, what does it mean then? How does it relate to humanitarian settings? So there will be two dimensions here. First, human rights education for right holders. What is it for? As I think Valeria mentioned earlier, it is really to empower right holders to claim their rights so that they can fully and meaningfully engage in decision-making processes so that they can be active agent, they can be active right holders and not only passive beneficiaries. Now, when it comes to humanitarian actors, what is it for? So human rights education and training for this specific audience will aim to empower humanitarian actors to adopt a human rights-based approach to their work so that they can contribute better to the protection of human rights and they can also encourage states, encourage duty-bearers to meet their obligations. Now, this sounds like a very big goal of human rights education in displacement context. So in order to achieve this, I think we can agree that human rights education is a complex undertaking. It's not only, okay, we'll do a session on human rights and that's it. So in order to achieve a successful human rights education effort and results, the methodology is key and OHSHR has published a manual on human rights training methodology which explains all the sound methodology that has been gathered from decades of OHSHR's work in the area of education and training. But in the interest of time, let me just summarize three main points of our methodology when it comes to human rights education and training. Firstly, it is important to note that human rights training, human rights education is a process. It is not only when people deliver training that human rights training takes place. It is the whole process from planning, from designing, from delivering up until following up to the training course or training efforts itself. So for each of these phases, the manual provides some advice on methodology and on how to go about it successfully. Secondly, it is important for a successful human rights education effort to adopt participatory approach. So what does it mean? A program that will allow the learners to participate actively. A program that is concentrated, that's focusing on the learner's experience so as to allow critical reflection and analysis of human rights issues so that they, the learners, could develop strategies for action. So it's really centered around the learners. And finally on evaluation. I think there is a misconception on evaluation being, ah, it's a questionnaire at the end of a training course and that's it, we've done evaluation. But for us, no, evaluation should be infused throughout the training cycle. So even for the planning phase, design phase, delivery phase, follow-up phase, there is a way to infuse evaluation and this handbook that OHSR Publix provides some guidance in this area. So now in terms of UN initiatives in the area of human rights education allow me to explain a bit on the World Programme for Human Rights Education. So this is a global initiative proclaimed by the General Assembly in 2004 and is arranged in five consecutive yearly phases. Phase one, as you can see here, it's focusing on human rights education in the primary and secondary education system. We have phase two, higher education system, phase three, media professionals and journalists. And today in 2022, we are here on the fourth phase, which is focusing on youth. Now, why are we explaining about this World Programme? So I think it is important to highlight that for each phase, there is a plan of action providing really methodological guidance for each phase. For INSEP, for example, the one for the fourth phase, it explains about what kind of policies are relevant, what kind of teaching and learning process and tools, what kind of methodology to be used. In terms of training of educators, what kind of elements should be included in the curriculum and what kind of enabling environment should state guarantee in order to facilitate human rights education for youth. And one thing we would like to highlight here is that the plan of action for the fourth phase has as one of its objective, a priority for young people in situations of exclusion or vulnerability, meaning humanitarian actors can use all this methodological guidance in their human rights education programming. They can use this plan of action as a guidance for advocacy purposes for states who have indeed to express commitment to strengthen a national implementation for human rights education, especially for youth. And the second one that we would like to cover would be the UN Declaration on Human Rights Education and Training, which was adopted in 2011. This is really the first UN document entirely dedicated to human rights education. And as it was adopted by the General Assembly, it also reaffirms the responsibility of states to promote and ensure human rights education. And just to highlight here how the declaration also expressed the importance of taking to account the challenges and barriers faced by persons in vulnerable and disadvantaged situations and groups, including of course people in displacement situations. So just to say that humanitarian actors could use both of these, one, the World Program, second, the UN Declaration in their work, the World Program could be an operational framework to help them in their human rights education programming, to help them in designing human rights education activities, to really to empower learners to claim their rights. And the UN Declaration could be used for more advocacy purposes to encourage states to strengthen their commitment to human rights education and training and do more in this area. So just to conclude, if any of you would like more information, would like more resources. For example, if you would like us to recommend some resources, especially in humanitarian context, don't hesitate to reach out to us. We are here to support everyone in their human rights education and training efforts. Thank you. Over back to you, Elisa. Thank you so much, Paulina, for this very comprehensive presentation on what is human rights education, the importance of methodologies and how we can actually apply these UN initiatives in our work. Now I would like to give the words to Abdulaziz, which is gonna speak about more the role of human rights education capacity building trainings for humanitarian workers in the context of Syria. Over to you, Abdulaziz. Please, you should unmute yourself. Thank you. Sorry. Yes, I was just thanking you, Elisa, and then for the invitation, you and your team, and really thank Paulina, my colleague Paulina, because she really presented an important presentation on human rights education, laying the foundation for this discussion. And I'm here also from OCHR, presenting a different aspect of our OCHR engagement as a human rights advisor. Let me share my presentation, please. I don't know if it is showing. Yes, it's showing. Please bear with me, it's a... Yeah, I'm trying to save this. I'm struggling a bit. It worked very well a few minutes ago. Just a second. It came up fine on the screen, it just didn't go into presentation mode. Yeah, I'm trying to, I'm sorry, Peter. Yeah, it showed on the screen for a moment, but it just didn't go into presentation mode, so it was working. Yeah, that's what I'm trying to do, to send it to presentation mode. What do I need to get it to actually do that? I think if you share it the same way, and then there's a button in the bottom right of the PowerPoint that you can click to put it into presentation mode. Okay, let's see. Sorry about that. No problem. And this is something at the bottom. Yes, just in the very bottom row, there's a slider, and just the left of the slider, there's a little presentation symbol. So you can see the bottom where there's the 52% in the slider, just the first icon to the left of that slider. Yes, that one there. Yes, now it's showing perfectly. Perfect. Okay, great, great. Thanks very much. Yes, sorry folks. So I'm Aziz, I'm Aziz, I'm a human rights advisor to the resident in-tank coordinator in Damascus. I'm one of two human rights advisors attached to the leadership of the humanitarian response in Syria. One of these, I'm gonna have two, sorry, network is quite weak instead of the... So we are two human rights advisors supporting the humanitarian response in Syria. I cover Damascus out of Beirut. My colleague, El-Sel-Tanik, covers Amman and Al-Razi and Tab. In what is known as the whole of Syria approach for colleagues who are not aware of the whole of Syria approach, it is the humanitarian architecture that was established in 2014 pursuant to Security Council Resolution 2165 that set up humanitarian hubs adding Amman and Gaziantep to Damascus after issues and concerns that the humanitarian assistance from Damascus was not reaching areas under control of non-state actors or anti-government and state actors around the preferries of Syria ordering Turkey and Amman. So OCCR deployed human rights advisors, initially were three one attached to each of the coordinators in each of the hubs. In Damascus, there is the RCHC in Amman. There is the regional humanitarian coordinator and in Gaziantep there is the deputy regional humanitarian coordinator and of course there are closer system set up in the hubs with Amman hosting the protection sector of the whole of Syria. So our role as human rights advisors is to support the humanitarian response in the integration of human rights in the response working with the human rights, with the humanitarian coordinator, coordinators rather supporting the leadership by raising protection concerns, participating in the design and as we should in the design and implementation of the humanitarian program cycle, et cetera. However, one of the most important roles that we have played as human rights advisors is to raise awareness of our humanitarian colleagues, the humanitarian actors, the cluster system and beyond international humanitarian law, international human rights law norms and standards to support the work of colleagues who are normally operational on the grounds. So building the capacity of humanitarian colleagues and partners to strengthen their reporting analysis and advocacy. The objective many has been to raise their awareness and knowledge and enhance their understanding of human rights and different types of human rights mechanisms, increase their ability to engage with human rights mechanisms, clarify complex IHL notions to support the daily response. Supporting on the legal with trainings on the legal framework, international legal framework. We have provided and continue to provide trainings on the international human rights law with a focus on human rights protection and armed conflict, human rights-based approach to programming. Of course, maybe not at the moment, but when such trainings were extremely important and most relevant, perhaps a couple of years ago, we rolled out a number, a series of these trainings, slowed down in the context of COVID-19, but we're scaling up these trainings again. We also provided, we provided also trainings on international humanitarian law with focus on specific areas of interest for our humanitarian colleagues and partners, particularly around those, this is throughout the years, the past years, supporting them on a number of issues, raising their capacity and understanding on some complex notions of IHL that were also the subject of legal notes that we've developed as OCHR. For example, in the context of Syria, in discriminate attacks versus use of indiscriminate weapons, attacks on medical facilities, protection of all the combat, child recruitment and use, sieges in position, population transfer, belligerent occupation, all of this under IHL. We've also provided trainings on workshops on economic and social rights, the right to health, right to food, housing, education, border sanitation. We provided trainings on engagement with human rights mechanisms and overview of human rights mechanisms, CD bodies, special procedures and the UPR. I'm sure colleagues know that, or some may know that Syria's UPR was reviewed under the UPR in January and UNCT provided its first joint reports towards the process, which is quite significant. Of course, the UN, both actually UNCT, ACT colleagues participated in that process. We've also are doing now trainings on human rights and sustainable development goals in the 2030 agenda and mapping human rights mechanisms and recommendations against SDGs, looking at the interplay between human rights and the human rights recommendations and the 2030 agenda, supporting with a human or through human rights based approach training, the development of the common country analysis for Syria's strategic framework, working with colleagues on human rights based approach. Also another thing that we're designing now on to the HRBA to macroeconomics that would assist colleagues or help colleagues design tools to a methodology to assess the impact or the negative impact of unilateral coercive measures on human rights or on the enjoyment of human rights in Syria, trainings on business human rights and human rights due diligence. This is just part of the work that we have done as HRAs and also working with humanitarian colleagues and partners through the civil society units within our office. I'm aware conscious of the time and I wasted a few minutes early on but just to conclude, of course, the work we have to address a lot of challenges that we face, a lot of the mindset that we need to change and we need to get together as humanitarian actors focusing on what's important and really the centrality of protection is something that some that all still we need a lot of work to achieve a common understanding of what that means and the relationship when we think of protection humanitarian protection, human rights protection. So we hope that the call to action for human rights will give offers an opportunity certainly offers an opportunity for engagement another opportunity for us to work together in the field. I realize the time I will stop here and happy to take questions afterwards. Thanks very much and sorry about the minutes I wasted the beginning. Thanks so much over to you. Thanks so much, Abdulaziz. No worries at all. That was perfect and it was really important to listen to the concrete work you do with humanitarian workers. So thank you so much again. I would like now to pass the word to Kate which is going to give us overall perspective about the different human rights education approaches in the context of displacement. Over to you Kate. Thank you so much Aliza and thank you Valerie for the invitation and the broader human rights engagement task team for the opportunity to come speak. I'm going to quickly share something in the chat box for you all which is our manual on human rights education for reference. I'll explain that in a minute and I'm also going to just quickly share my screen. So hopefully you'll be able to all see my screen. My name is Kate Tenerman and I'm the manager of capacity development for the Asia Pacific Forum of National Human Rights Institutions. I'm actually calling in to this meeting from Canberra in Australia so a little bit further away from Geneva or perhaps wherever you're dialing in from today. But it's a pleasure to be joining with you and I'd like to just thank my previous presenters for providing such a wonderful overarching framework for human rights education and especially hearing about the work that OHCHR is doing in Syria. It's really really eliminating so thank you so much. Making sure my PowerPoint presentation works. Okay so in the time that we have available just very quickly I wanted to focus on two main points. First and foremost the role of National Human Rights Institutions as humanitarian actors perhaps there's not as much familiarity as of NHRIs or National Human Rights Institutions or perhaps you've come across them so I wanted to clarify their role and the work that they've been doing. Also as a side note I wanted to advocate for them as partners in humanitarian context to really bring in those human rights dimensions as we've been listening to before and I also wanted to talk to you about some human rights education approaches in the context of development. So very quickly for those of you who are not aware the Asia Pacific Forum, the organisation I represent, is a member based organisation of National Human Rights Institutions across the Asia Pacific. We have a very broad definition of the Asia Pacific as you can probably see from the map on my screen at the moment. We have members based in Samoa, New Zealand and the Pacific all the way to Palestine and Jordan in West Asia. So quite a diverse grouping of National Human Rights Institutions here. I won't go too much into this again but just to reiterate what Paulina was saying about human rights education seeking to empower through knowledge skills, attitudes and behaviors and I would invite you to think of human rights education in its broadest possible sense and I'll explain that in a minute in my presentation. But just to really reiterate the perspective from the APF as well, you know we have different agencies talking about human rights but we're talking about a human rights education rather but we are talking about it from the exact same place. Human rights education is about empowering empowering people to better understand their rights. Now, National Human Rights Institutions, they are quasi-judicial bodies that are mandated by law or an act of parliament and legislation to promote and protect human rights and they do this through a variety of different functions. They advise government on human rights based policies and approaches. They monitor human rights compliance with their from their governments at the national level in their countries. They also investigate complaints on human rights violations and abuses and another core part of their function is human rights education. So they focus their work on rights holders duty bearers, influencers and they implement a variety of different human rights education theory to achieve the goals that they're seeking but fundamentally human rights education is underpinned by these six principles. And just expanding on what Paulina has already mentioned for human rights education to be truly impactful to be truly empowering it needs to be relevant and this is in the context of displacement an exceptionally important consideration to make sure that these principles are embedded into all of your human rights education work. It really needs to be relevant to the participant who's going through the process to their experience and their concepts or their context rather that they're in. It needs to be collaborative. It needs to be developed in partnership with those you're seeking to work with. It needs to be participatory and participants centered. What is it that the participant really wants to get out of it? Where are they coming from? What's their barriers or what are their challenges or what are their opportunities when working with you in this program? It needs to be probing as well. Human rights education is a lifelong process. Learning about human rights is a continuous process especially if you're coming from a position of not understanding that you had rights in the first place or your particular situation such as those in displacement context has added new dimensions to your human rights being violated or limitations to you being able to fully access your human rights. Human rights education needs to be probing. It needs to go under the surface and get people to really reflect and think about how it is working for them, how it is working in their communities. What does this look like in practice? Ideally, you'd really want human rights education to inspire thoughtful action. So when they leave a room virtual or in person or when they've gone through a human rights education activity with you it's empowered them to think about what are the next steps I need to take? What do I need to know or what do I need to do in order to fully access my rights? And it's about being transforming. We're here to help people realise their rights so we really want this human rights education activity to be as transforming as humanly possible. Now the manual, the link to the manual that I posted in the chat box is the APF's guide to human rights education. It is written for national human rights institutions. So it might not be as relevant to your particular context in terms of the legal mandate and setup of an NHRI. But the principles and the multi-methods of human rights education are applicable no matter which agency, team or what kind of human rights actor you are. They are applicable across the board and this is where I would encourage you to think about human rights education in its broadest sense. It's not just about people sitting down in a classroom and delivering information to them about their rights. It's a combination of multiple different approaches underpinned by these core principles to help empower people to learn about human rights and act on their new knowledge after they've contributed or been part of an activity. So we've got information sharing which in the context of displacement is incredibly relevant for people who may not be aware that they have say for example, rights to access their information, their documentation as well. There's also training which can happen online, face-to-face over WhatsApp. The last couple of years has taught us to be very creative in different ways that we're delivering training. Human rights education can be really facilitative. It can be this process of facilitating a conversation to probe deeper thinking and reflection and to challenge understanding and concepts as well. And this is particularly important for displacement especially when you have very mixed assumptions between somebody that has been displaced or coming into a community that's established and perhaps tensions that arise from that and NHRIs have a really strong role to play here in their human rights education work to facilitate these dialogues and conversations to break down assumptions and stereotypes in the context of displacement. Human rights education is all about relationship management stakeholder engagement bringing people on board for the journey for you. It's also about advocacy for rights. And lastly it's about community-led development which I think is one point I'd like to highlight in particular in the context of displaced communities. This is really driven from how they want to see their future shaped what they want to get out of it and it's about them taking ownership and charge of their rights in a community to understand what their development needs and context are. I'm running out of time so I'm going to very very briefly just mention this as well. In addition to the principles the six human rights education principles I mentioned in the multi-method approach and I think Paulina you summed it up perfectly when you said it's more complex than people who give it credit to but gender mainstreaming especially in displacement context is a very very important consideration for your human rights education activities. We want to make sure that gender norms or discrimination is not perpetuated and we need to make sure that we understand the unique gender dimensions of displacement context for the people that we're working with. I'm not going to have time to go too much into the rest of it but I just really really wanted to reiterate that when we are undertaking a human rights education activity it's very important that we focus on the change that we want to see what is the outcome we are ultimately seeking. As I said people have these assumptions that human rights education is just a training. People will rock up to a classroom and have information delivered. That's not necessarily the case and especially not when you're working with a very vulnerable community who are quite disparate. They're in new and very dangerous and precarious context as a nature of their displacement. You really need to be working with them to think about what it is that they want to see at the end of the outcome that we're ultimately seeking not just focusing on the delivery of the training model as well and just wrapping up very quickly for human rights education activities and in the context of displacement to be truly effective they need to be based on these human rights education principles and they apply all across all different methods of human rights education approaches not just assumptions about what human rights education is. It's a very very broad subject so when you're undertaking your human rights education activities we need to ensure that we adequately plan we focus on the outcomes not just the outputs and not just the product and we make sure that gender is considered throughout the entire process as well. Now national human rights institutions use these approaches and they use their mandate to apply this in very different settings and the value that they really really bring in these displacements context is that ability to be educating states to be educating the displaced community to be educating other stakeholders that are involved in this on what are the rights obligations what are the human rights conventions and especially in humanitarian settings where you have conflict or perhaps a natural disaster they really bring that human rights expertise that community knowledge so that proper systems of delivery and assistance and going forward in the humanitarian action cycle human rights is underpinned throughout the whole process so that inequalities aren't exacerbated so that human existing human rights issues are not worsened and so that recovery efforts can be built on solid human rights foundations. I think I've run a little bit over but I'm just going to pass now and of course if there's any questions you can email me at the end and I'll take questions in the forum. Thank you so much everyone. Thank you so much Kate for this very comprehensive presentation about the role of national human rights institutions and the different approach approaches on human rights education. Now I would like to give the word to Eka which is coming from the Indonesian National Commission on Human Rights and she will give us a concrete perspective a concrete case of human rights education in this placement context. Over to you Eka. Thank you Elisa and thank you Valerie for inviting me in this very wonderful event but first let me turn off my camera first for the stability of my internet in here so my name is Eka Kristinixi Tanlain you can call me Eka. I'm the one who wear yellow shirts on the Kate presentation PowerPoint and I will share our experience regarding human rights education related on internally displaced persons or IDPs and also for humanitarian. Coincidentally I also work with humanitarian worker but in the other not focus on the human right education but on psychological impact of our work because it's we have a similar psychological impact become a humanitarian worker or a human right indicator or become human right defender so I work in the Indonesian National Commission on Human Rights or it's usually called Komnas Ham we have some we have several mandates we do research education investigation and then we also have to investigate gross human right violation and then monitoring for race discrimination and also handling conflict social so we have for law as our based on our work and in this few years we have some strategic issue the first one is human rights violation and then agrarian conflict and then violence by the authority or by the community and then freedom of opinion and expression and also extremism with violence and intolerance and the last one is access to justice although we have a strategic issue it doesn't mean we didn't have a concern for others human right issue we still have a concern for others human right issue but strategic issue is to answer the complaint from civil society that we receive and talk about displacement in Indonesia before 1999 IDPs did not get enough attention because there were not many case but after the reformation after changes of politic situation and because of our geographical location itself IDPs become one of the problem that occur in Indonesia the reason is of course the conflict like in Papua it is until today we still have a conflict there and then of violence like conflict in Sampit it is between two ethnic Maduris and then Dayak and then conflict in Ambon it's between two religion Muslim and then a Christian and then the tragedy of May 1988 and then displacement because of disaster like tsunami in Ache in 2004 and then the eruption of Morapi in 2006 and 2010 and the others we we have of potential earthquake violence eruption tsunami because of our geographical location and we Komnasum also notice some displacement because of another reason for example a lot of teenager transgender who was expelled from their family because of their gender expression and they have to move on from their home without any legal document so usually they make a community and because they don't have any legal document they cannot access any education how service they become a marginalized community so in fact the IDPs they have some rights they have free from a torture delivery human trafficking forced marriage and then a lot of things and then actually they have obligation to respect, protect and fulfill their privacy right to social security and then right to on education and even right to use their own language because Indonesia has a lot of language English is my third so sorry if I speak broken English and with this kind with this a lot of rights do understand about this do humanitarian worker know about it do activists or human right defender already understand about this and especially doing the IDPs itself know their rights and this is the problem many of many of IDPs itself even state as duty barrier and also humanitarian or social worker or human right defender didn't didn't know exactly what is their rights so it's important to to conduct human right training human right education for the IDPs itself to know and to claim their right and then for humanitarian we hope that human right education can be guided that can be used in their work so they do their work not only based on charity but also because it is the right of the IDPs itself and from for the duty barrier is of course to respect, protect and fulfill the IDPs like Paulina and Kate already mentioned human right education is about empower the participant empower the learner to take action so it's very important to give the training not only for the IDPs or for the humanitarian but also for the duty barrier or for state and like you know in here IDPs is a matter of charity not the obligation so usually usually even the states even the government or humanitarian is used a charity approach not a right based approach in fulfill protect or the right of the IDPs so what we do is already a long time ago we conduct special training on IDPs it is on 2006 it's a series of the training for the IDPs for the state apparatus and the humanitarian worker too and beside the training because human right education is also about sharing the knowledge we also make some publication a lot of publication related on the IDPs and we haven't have much related on refugee but we have sums on IDPs and then although doing the training but like you know as I mentioned before that IDPs is not our strategic issue right now so training for humanitarian or IDPs usually focus on psychological first aid on trauma healing disaster mitigation or economic empowerment and it's usually conduct by the other against this or the other institution and human right training have not given proper attention or never taking place again until 2006 we haven't have any training again specific on the IDPs and then different priority of the institution like like you know we have another strategic issue and in Indonesia we also consider many many against this of institution human right are the obligation for law ministry only it doesn't relate ministry of education it doesn't have a relate with ministry of health in fact when we talk about human right we talk about many aspect but only few still many many state apparatus who doesn't understand this and IDPs also not consider as important issue although there are a lot of conflict that cause the IDPs and still it's used charity approach and when we deliver training usually the state apparatus or even humanitarian itself they feel they already knew they feel they already done the best but and some of the humanitarian didn't think that human right are their issue like Valerie mentioned on the opening sometimes they didn't want to join the training because they say they are busy they don't need the human right education training and IDPs is some of state apparatus usually they have a conflicting value in their own value for example IDPs because of conflict of the religion some of state apparatus still still use their own value when they conduct their duties that's why it's quite difficult to conduct training for the state apparatus or even for a humanitarian and of course human right education until today is considered not important although actually we have a lot of impact because of human right education so what we do with a lot of challenging in this situation because of the our strategic issue we have three target group for human right education target group one is police officer and then government officer and then the other is civil society we divide into two big pillar for the human right education first is we do campaign or dissemination and then second is training and then for campaign it usually we make a podcast because like Pauline mentioned right now is for world program the human right education must be focused on youth so this podcast is for the answering that world program for human right education we have a target group youth target group for the podcast and then webinar or seminar and then open journal system and then publication and also doing dissemination on social media and we also have a training but now we focus on three kind of training basic human right training human right human human right cities training and then freedom of expression training but we only have three kind of training or three big issue training actually we put or we insert a lot of other issue in this training it's depend on the in the in the region we conduct the training or it depend on the current situation so like when we deliver human right cities training for the region who have IDP we will use a lot of case study related on IDPs or related on intolerance so that is the first one then the first technique is we insert the IDPs issue the displacement issue to our training on the second way is we try to solve the root this usually is caused by the intolerance intolerance because of religion intolerance because of the ethnic so we conduct a lot of training a lot of campaigns related or promoting tolerance it's also become our our strategic issue that is why one of our strategy we not use IDPs as per se but we put it in the tolerance umbrella this kind of activity human right education we have some best practice for example when we conduct a training we never conduct training we never conduct training for specific group or only for one group we always combine from state apparatus and then for activists or humanitarian worker and for the worker or in this context we will invite the IDPs and then we set the ground rules we build comfortable learning environment which is usually we use a lot of learning games so they will feel more enjoy the learning process not feel stress because of the learning situation and we do a lot of fun too in the training and then we use a dull learning participatory approach because really we knew that each participant has their knowledge their own experience we as human right educator only as a facilitator who help transfer the knowledge between the between the participants and then also of course need to choose the best methods who allow participant to have a reflect to to feel themselves how if they become the minority itself how if they become the IDPs itself so usually this one we usually use case study movie streaming and the best one who almost our participant love is role play so they can experience experience themselves as IDPs and then during the process they can reflect oh my god I should as a state apparatus I should do this one not this one I should put away my own value and do my duty with do my duty and it give the time to thinking again what should they do what they can do to improve their participation in promoting human right and then also of course inspire them to acting we use a lot of method for role play it can be using a privileged game I give the link of the youtube that you can check later or you can make script that will be developed by the participant itself it's not only it's not only help us in experiencing reflecting thinking and motivate participant to acting but also very fun process for the participant itself and then in our training because of the the comfortable learning in for environment usually it can be bridge become between the state apparatus and then humanitarian worker and the IDPs it's they knew it's other position so they can communicate better in the future and in the some area even they collaborate collaborate in promoting and or promoting human rights so with a lot of challenge and then best practice we also learn that we still weak in monitoring and evaluation process so sometimes communication that already build a very good in the new training process is not follow up by the participant or by us so we still weak on the monitoring evaluation but still since last year we try to give more constant on monitoring and evaluation like Paulina said is not only pre and post test but how we monitor after the training and how we know the development of the participant after the training so right now we also developing monitoring and evaluation that's all our experience thank you Elisa back to you Thanks so much Eka for sharing your important work and including challenges and best practice I would like to thank you all of you again for bringing these important perspectives now I would like to open the floor for questions and answers we will have about 20 minutes more or less so please raise your hand or write in the chat box and introduce yourself I see first Leonor so please go over to you Thank you good morning afternoon evening to everyone thank you to all the panelists for sharing their insights I guess my question is really around in this context of HR in a displacement framework I might have missed the point but we talk about IDPs and humanitarian actors but I'm quite interested in learning a bit more around hosting communities how do we go about doing HRE with the host communities both this place and host programming around that so I would be really grateful thank you all Thank you so much Leonor would you mind maybe introduce yourself and if your question is directed to Anastasia Oh I'm so sorry I apologize my name is Leonor Valera Stavuada I'm an advisor at Anastia International Human Rights Education Thank you Thank you so much So over to you would you like who would like to take this question Paulina I can just jump in with a quick reflection and then Paulina sorry did I interrupt you No okay good This is the thing about online meetings sometimes you can't tell when you accidentally speak over the top of someone so I do apologize Paulina I just wanted to say I guess speaking from the experience of national human rights institutions for humanitarian actors and the global protection cluster actors I think they're a really good stakeholder to be engaged with especially when you want to be speaking to host communities for the reason that they are the they do have a lot of national they do have a lot of national human rights expertise to draw from and because of their unique position they have this ability to be able to connect with different stakeholders as well so they are really I see them as and I would like to advocate for our humanitarian actors and our partners here in the global protection cluster I'd like to advocate for engaging with NHRIs as a core stakeholder for your work because they have a sense of the human rights situation of the country because they might have access to these host communities for example and just quickly the National Human Rights Commission of Bangladesh for example when the Rohingya refugees were fleeing Myanmar there was a lot of tension within Cox's Bazaar from the host community having to having to all of a sudden take care of or accommodate for the Rohingya refugees that were fleeing across the border as well so when they were undertaking their monitoring work not only were they speaking to the Rohingyas but they were actually speaking to the host community as well and hearing their concerns and they discovered and it's kind of unsurprising but they did discover a lot of instances where there was increased tensions and discriminations because the host communities felt that the government had completely neglected them and weren't actually providing for their needs as well and in the establishment of humanitarian shelters or in the delivery of humanitarian aid what was missing was understanding the underlying issues and infrastructure challenges and problems and human rights issues that the host community was facing as well so they were seeing a discrepancy of service delivery when they perhaps were also feeling impacted by the sheer amount of people coming into their community as well so I would advocate for human rights institutions to be a very good stakeholder in these particular instances because they know the national context of what's going on they have a mandate to monitor this human rights situation and they can afford you different access to governments and different agencies and different communities and stakeholders by virtue of their role as an extension of that more broadly in terms of best practices for how you start working with host communities I feel that there is going to be this trying to understand what the tensions are and what they balance those tensions out and then taking them to state or duty barriers of state departments who actually have a responsibility to be looking for these or disaster management authorities as well to really understand what are the needs of the host community and seeing NHRIs as potential stakeholders who could help broker those conversations and facilitate those dialogues as well. I don't think there's ever been a model where it's gone very smoothly and we have a host community who's willingly accepted a displaced community but I feel that there's a lot of work that can be done in opening and facilitating dialogues through national human rights institutions to address some of those concerns and try to face those challenges before they effectively transpire into bigger, broader, systemic issues of discrimination and violations. So thank you. Thank you so much, Kate. Yes, over to you, Valina. Thank you, Elisa and no worries, Kate. I don't think you interrupted at all. So I just wanted to thank you Leona for the question. I also wanted to share my experience from when I was working with the UN Refugee Agency back in Indonesia, Jakarta, where I'm from. So basically when it comes to the hosting community, it is important to look at human rights education from two perspectives. First is to make sure to sensitize the hosting community on, for instance, from my experience, who refugees are that they're not only a number in the statistics, that there are also human beings with family having to flee from the war, from conflict. Basically, to put these two together, the hosting community and the refugees in a context where they are all human beings sharing common humanity having the same human rights. So I think first is back to what I was trying to say is first really to sensitize them on how everyone irrespective of their situation is human. And secondly, we also looked at it from the fact that it is important to create activities where both the hosting communities and the displaced persons again in my experience were refugees, you know, to do something together. Some simple activities as an extension to human rights education or training, like for instance, they do some sort of community cleaning together. That way they really they really see the others, not as us versus them, but they're all living now in the same community and the displaced persons can also contribute to the community. So just to share this experience and I think as important stakeholders to be involved in, you know, human rights education, training efforts for hosting community in addition to what Kate said, a national human rights institution is in a very good position to help on this, but also I think important would be a representative from the hosting community themselves to really understand what is it that they need in order to facilitate, you know, better dialogue between the, you know, between the displaced persons as well as their hosting community and second stakeholder would be the displaced persons themselves. So I think in this kind of learning and training effort it is important to involve as key partners, representatives from the hosting community as well as the displaced persons in every step of the process in planning, in designing in even delivering and following up to the training effort. Thank you. Thank you so much, Paulina and Kate. Eka Abdelaziz, would you like to add anything? Eka, over to you. Yeah, thank you. Actually already answered by Kate and Paulina, but yes, when we conduct a training, we have to do assessment if Paulina talk about refugee it also happen in IDPs contacts because some housing community sometimes didn't want to receive the IDPs itself because usually in here because of a different belief. So we have to end the love of stakeholder in promoting human right education not only for humanitarian, but also civil, I mean society leader of the society even religion leader that is some. Thank you so much Eka. Thank you. We do have now two more questions I see now Samir. So please over to you Samir. Thank you. Thanks. Thanks, Lisa. My question actually relates to some of the discussion we just had in relation to the last question. I wanted to start just by touching on that first in relation of what Kate was mentioning about Cox's Bazaar I wanted to ask because it was my understanding that in Cox's Bazaar when there was a big influx of the Rohingya refugees at the beginning at least for a full one year there was a very strong environment of sympathy from the government as well as from the host community towards the Rohingya refugees based on what they had suffered and during that time I think we as humanity missed that crucial boat of establishing or taking advantage of that already existing sort of social cohesion and I think then we've ran into the usual challenges. So I'm just wondering maybe in relation to that generally as well if we go to the first step what are some of the approaches that we that we need or that we can take to create that space and acceptance for human rights education. So in some places we have national human rights institutions or some places the relevant entities are a bit more let's say open to the idea of human rights education. So how do we so in the absence of those situations or in situations where there was maybe a positive environment and now it's become more fraught. How do we convince an audience and sometimes an unwilling audience of the value of human rights education before we can actually create the space for us to do it. So the initial first step and I was wondering if I could trouble Aziz to share some practical examples on the same thing about overcoming the challenges of acceptance for human rights education because I'm sure Aziz definitely has navigated several of those. Thank you so much Samir. So we would like to take the first question and then second question is for Abdelaziz. Thank you. Kate and Paulina would you like to take the first one? I think I will first of all Samir thank you very much for your reflections and I think it's a really important point to understand where these opportunities lie for potential cohesion or to jump on these initiatives when they're there and that willingness is there to try and support as much as possible. So I just like to acknowledge your point. I think that's a very very interesting reflection and definitely something that we can take forward. In terms of the second point I actually just wanted to jump in and note your very first point. I don't actually have the experience myself in this particular context. I work through the experiences of our NHRI so I might have to bow out this one for another one of our colleagues who actually has those experiences on the ground. Thank you so much Kate. Hey Paulina would you like to take the first one? Hi Samir thank you for the question. I would like to just echo Kate's point that I think it's a very very valid concern. I think in at least in our experience human rights education and training efforts it's only one part of a broader human rights work. So for us usually before we even arrive at the point where we think there is a need for human rights education we would as an office and it is included in our manual that we have just shared it is important to conduct an overarching kind of analysis to see where and if human rights education is part of the solution because not every problem not every issue can be answered can be addressed by human rights education and when there indeed is a need for that and there is a knowledge skill attitude gap that can be addressed by human rights education then we start the phases that we mentioned planning, design, delivery etc. So just to say that timing is really important indeed but I think it is also important to see human rights education not as a panacea for every problem that every human rights problem that takes place because human rights education it solves knowledge skills and attitude gap but not human rights issue as a whole I hope that kind of touches at least upon your question Thanks Thank you so much Polina I'm afraid for timing purpose I need to pass on to the second question that Samir poses to Abdulaziz directly if that's okay Abdulaziz Hi Samir I'm so sorry I missed the question because of the network could you please repeat Hi Aziz I was just asking if you wanted to maybe share one example of how you've navigated the challenge of creating willingness in an audience to receive that human rights education because I know you have a wealth of experience in that but if not I can always trouble you bilaterally to ask more as well I think Samir is actually of everyone here probably the most aware of the challenges that we face as human rights advisers and integrating human rights in any kind of response you just being a really direct interlocutor in Naaman but I know that Valahi as well is very well aware of these issues but I think it's for us it's really very important in terms of showing the added value of OCR's engagement of OCR's role and indicating that we have something to contribute and I think in around the times where we were doing rolling out these trainings much more than these days courses but it really helped us integrate and it helped us support colleagues for example when so it really comes down to relevance I think was it Valahi or Elisa earlier on we were saying something about colleagues are saying what is it for me how does that relate to my work these human rights educations so human rights trainings for us was really not prosaitizing but rather just sharing valid relevant information to colleagues as I mentioned all the work on the legal notes for example when our colleagues in Syria were struggling to for example everyone knows about the barrier bombs that caused wreak havoc and killed so many people in Syria since 2015 and for four or five years that colleagues thought these were there was a question of is this a discriminant weapon or is it used indiscriminately so the legal notes and training on that explain to them the significance of these differences but yeah well it is not necessarily an indiscriminate weapon unless it's used in civilians then they would have the effect of a indiscriminate weapon all the situations and transfers and deals, evacuations population transfer it was very important for colleagues they were struggling to make sure that they are not also facilitating human rights and IHL violations by getting population moved from their homes to another area on the other side of the country just because someone else agreed on their behalf and whether that was informed consent or not so all of these where there was a real need for colleagues there was thirst for this information and I think we had the right angle at the time and that's how it works the less these issues have become the of course the wider the gap again right now our colleagues in Syria are facing the impact of unilateral coercive measures, unilateral sanctions on the meltdown in Syria and it is paralyzing even the in addition to the population of course in terms of economic and social rights so how do you assess the negative impact of human rights of sanctions on human rights and how do you distinguish it from the external and conflict related external factors that are not necessarily related to the US or the EU imposing sanctions on Syria so there's a lot of work and there's a lot of interest in actually learning how to look at macroeconomics through an HRBA lens to be able to reach these assessments so it's really relevant some year it's a two way street and it's never been we want to do if you just go out and say I want to do an HRBA training you'd never get a response but Samir knows that a couple of days ago we received an email saying the ISG the intercluster group is interested in Syria is interested in training on human rights based approach to programming which we find very very interesting and we look forward to doing that sorry about the very long answers Samir Thank you so much Abdelaziz yes very important I so Said you add your hand up so we are running out of time but if for you it's fine we can maybe take the last question and then close if you can stab it longer I don't know if Said you still want to ask the question or if you have to go I think maybe you already left actually so I think yes we are coming to a hand I would like to thank really all the participants and the speakers for participating in this webinar in this peer-to-peer exchange I would like to invite again especially the protection cluster coordinators if there is an interest in human rights education in having a specific project for the cluster to please contact me Valerie and Peter and yes we remain at your disposal also if you have some comments about the training materials that we developed please contact us because your feedback is very important and yes thank you so much again I don't know if Valerie would you like to have some closing words or I think that's completely fine thank you so much Elisa for organizing today's peer-to-peer exchange on human rights education and colleagues just to let you know that our next session is on 20th of April so in about two weeks and we will focus on climate change and human rights angle so we will receive an invitation thank you and have a good day thank you so much thank you bye thank you so much everyone thank you everyone have a wonderful day you too have a wonderful evening thank you


Hello everyone and welcome to this new streaming. It's the 21 March today and I hope the microphone sound is good and you also receive the video quality and everything. I get a lot of messages on the chat, also on IRC so it's hard to focus on something right now. But thank you for all your presents. I know it's not a very good time zone for everyone so thank you for doing the effort. Especially to those in the USA and in all the America who have to wake up very early for following this stream or the one who also are in Asia and it's very late at night. So thank you for doing all this effort. Today we will do the second part of shading this artwork. I see it under here and if you miss out the first part you can see always later the video is in the description of the video and also all the previous livestreams are stored in the video description of this livestream and the address of this livestream is not changing. So sorry I will put the right setup to record only the desktop maybe adding a little camera in the corner like that and preparing my tablet. So I have my files here. So today we will work on getting from this step, no not this step, this step that's where we went last time and we go to this step first so adding a little shading and texture and this step making all the detail perfect and all the little ambient and the depth and the picture and everything. So I'm looking a bit at the chat. Hello everyone. So it's really hard for me to read everything. I'm just over reading every time so if you want to make a question or something directly to me so I can answer it feel free to quote my name. There is certainly a system because I see the line in red or something it helps to attract my attention during the stream and also your question. Thank you. So we will start where we stopped at last time and it was at this step. I will open it in Krita. Okay and I will just put this chat windows always on top so it's always visible and also I'm checking if Krita my tablet is well set up because I'm always changing things. So last time we colored all the little island here with a flat color and I gave some tips to adapt the color to make it to color this very fastly with a mask that is naming the color is mask and then we added just a little pass here it was a hard light a layer with just pure violet just to reduce all the color to fit in the same palette and also to add a little ambient. Okay and today loading up today I'm gonna start with this shade layer so we have the here the full stack this is all the layer hide in here are the final artwork because it's an artwork I did but here I just make visible this layer it's a paint layer named a shade and it's in hard light also because I really like hard light and I will probably start to explain what does the hard light layer so the hard light is in the category lighten it's probably a problem to be in the category lighten maybe it was sorted in Krita in this category because the name was hard light and light lighten maybe but it's probably an arithmetic one and I will show you why so I will name it shade demo to be sure to to be on this layer and I will put a color like orange to be sure to be on it and then this type of layer if I pick a perfect gray here on my palette and just a hairbrush and if I paint you'll see that does nothing even if on the layer you have some gray painted it's because this layer paint bright things from the middle gray to the bright gray and shade dark from the black to the middle gray and so it's two blending mode into one layer on the upper part of the gray it will switch to a screen blending mode so it's a blending mode to and to to make things brighter like this you can see and if I go down here under the mid gray it will transform into a multiply blending mode so so why I'm using this and not two layers like a multiply and a screen blending mode on split layer it's because on my object here I often doesn't need to get shading and at the same time lighting in the same area it doesn't make sense if the area needs to be bright it doesn't need to be dark at the same time so for me it was necessary to find a blending mode that can do both and hard light was a good candidate I tested in the past a lot of them the grain merge was really good overlay also but these two made some too strong saturation so with this hard light I can start to make some global light on my scene just for example putting this very little slight airbrush light here and start to darken maybe a bit the edge of the scene at the same time so before doing more shading on the character and everything I will look at the chat so going a bit good I'm happy to know that the sound is working because I tweaked my microphone recently and I wasn't sure hard light is a combo of divide and multiply divide probably maybe but it looks really like screen any types for managing layers in Krita how do such a great job at it but I find myself confusing my layer when I'm working I'm just using the color color code and really small name just a single word compact name and the one I don't really need to touch anymore I put them into gray so that's how I manage the layer you see this one and this one are gray and small words to to try to to not do mistake with them I see I see so many comments very nice thank you so so for shading at first I will do something really quickly on the top of my on on my layer stack but just to explain you something and I will reduce the opacity I will consider all the the shape of my artwork like simple volume for example the head of this cat I will consider them like this and with two three angle like that just as in a low polygon video game this has a cylinder this has another cylinder this has a sphere and here another sphere another sphere no no it's not sphere it's like a tube and this in the background like a big square big cubes even because square it's a flat shape and this is cubes with the surface so by making all this volume very simplified in my head of course I am not drawing that when I am doing the color but I keep that in mind when I do all of this it's helped me to to just focus at first on shading the the right part of the artwork there is some big block to shade for at first and so if I have my light source for example on this artwork I think I pick it here a light source coming like that from the moonlight and the moonlight is probably here somewhere but we can't see it so it's almost parallel ray of light so I will get this part more dark because this wall is not exposed directly to the light this one will be like exposed to light so maybe a bit brighter here I will get a cast shadow so these are stronger than usual on all this part and all the cut here will be on this type of value it's because it's in the shadow and then I will get here a shadow and here also a shadow like that casted shadow so darker and then I will do the boons light so the light boons on this wall and light the face of this character and light a little part of this and little part here and here so this is a really simple rig and really it's a simple way to manage the light and I explained it this with simple shape because it's a bit more cryptic when I do it on the on the shading layer so I keep using a preset like that not at full opacity and I pick just under the mid-gray just a bit darker here and I start to shade what I told you I would do so big block first you see I'm not really focusing on making the little volume of the little mouse or the nose of the the cat or everything it's big block first always and also I don't focus to be really clean you see that this edge I will fix the edge so the shadow going outside of the wall later I'm just picking a big brush and trying to to get the right shading for her maybe like that so you can you can play to make a lot of things with shading a lot of expression oops sorry I'm just adding a big big block here and I want to erase it and by by seeing you can play with things is if you put something in light like that you will attract attention and focus on your scene on it and if you put something in dark like the little mouse in the corner you will put some detail that doesn't need to be seen at first but will be seen after and because we are on a blending mode that can accept also color you can also play with color red light so for example I have the the light of the moon going from here bouncing on this wall and this wall maybe with the ambient and with the brick color and everything the moon the the lights that is refracted is getting a little blue-ish so can use this little blue light to go like that on this part and also this wall also a bit so by using a big brush like that you can quickly see if the light source is good here or if you prefer to go for another light source maybe turn the the moonlight in the other other side maybe make a dramatic effect and like an alarm red light here that can helps you to to make some volume a bit more visible here maybe but all this pass is really flat so all your colors here and all your volume are still very flat with this pass so that's why it's only the first step for the edges you can use a tool like the move tool here oh yeah here this one and just push your shadow to respect a bit more your edges sometimes it's good to to can also play with moving a shadow around like that or if you shake it you can have a little blur extra blur here like that it's good to soften a shadow edge i really like to to play with this type of tool so because it's it's very flat we need then to go into the detail and for that i'm using very often a simple brush with or flow or flow and opacity on it at the same time and i'm picking the local color so i press control alt at the same time and it it pick only the color on this layer because as you can see my layer has now some shading color on it so i can pick just the color of the layer with control and alt together press on the keyboard and i see that i i showing i'm showing my face now on the on the webcam it's not useful maybe it's better if i managed to to show what i'm afraid the webcam will fall because it's really but yeah so control and alt here on the keyboard and you can sample just the color of the layer not if you press control only it will sample all the color the resulting color on your screen but with control and alt you can pick just the color on your layer so you can find back what was your color of of light or of shadow here or here so then it's a game of going small and starting to make this little shadow that are in corner of the picture and it's a it's sort of in 3d it's called they call them the ambient occlusion one so when two objects touch together it's getting dark because even if there is a lot of ray of light everywhere this part gets darker because it's hard for the light to go on it so you can work on this type of shading and also on little shadow like for example this chicken things can do a little shadow here because we have this light coming ding ding and so there is a little casted shadow but if it looks like the cat is a droning or something drilling I don't know but when there is a lot of saliva and everything so sometimes you need to play with making it accurate depending the light or making it visually looking good that's that depends how much style you want to put in your picture so so you understood how to to to shade like that and I will not so shade every little part of the scene in live it's it's only this to show you some technique and if I need to lighten because this material for example shine a bit because in front of the camera it receives some light so I can put some light reflection on it like on the banana also a bit and what I like with this technique is also I can keep blending only the light and not the the underneath color so for example if I take one of the blending mode like not blending mode but blending brush like this knife I can blend only the the shading and the material and get an effect on it and you can see that if I do this between the color it doesn't really break the edge because there is still the color that makes some area very very split but maybe for this I just need a something softer like that so it it helps me to to get some effect on the surface of object and managing my what is shining and what what is not shining so I can pick then after something and just draw a bit like this like that so at first it was the big block with a brush a bit blurry then we add some little shading and also reflection and in third path what what I do still on this same layer is I add some texture because I often get some very flat area around the drawing so what I'm doing is I often just scribble a bit a little texture on the part that deserve to receive a texture so sometimes it's little dot on the floor like that because this layer is not only good for shading but you can also use it to to do some color little color variation so if you need a little bit of noise on something or I'm not using it when there is a decal like a picture you put on the in the beginning quality was very good now it sucks oh the quality of the video of the quality of my speech Dr. Hoffman sorry sorry if it's technical and if it's about what I say sorry too so you have some texture here and you have the big block the little shading and texture and that's with more work of course what I did when I did this one so you will see the little shading the big block and texture this texture of watercolor is yes probably this brush in the watercolor set and just big splash of black like this or maybe a color a bit more reddish like that yes yes for the quality of video sorry it depends the youtube server and I'm and also my internet access soon video quality is fine here too so you can see here for example some rake effect on the wall this all little stroke at some life because I'm trying to break the the feeling of the flat textures on the artwork making a flat color artwork is very fast very fast with the quick mask tool as we saw on the live stream previously but but if I'm using these techniques I need some tips to break a bit the digital aspect so one one step I I keep adding is another pass of texture sometime and this time is with soft light svg but as you saw you can do it on the hard light maybe for this artwork I was a bit a zealous to make two pass of texture maybe one is is just necessary and then I advise a paint layer so this is just a paint layer on the top because getting all of this shading with problem with everything with textures I think it's really good to just take back a paint layer a simple paint layer and with a little brush like this one and just for example adding details manually picking the color and shading little part you you want to shade manually so for the shyness of of the trash can I prefer to make them in paint layer on this one so it's a paint layer but all of this is still under the ink and frame so I'm still working if I paint I still paint under the line and at this step what what I do also on my line is also I start to block the alpha so there is a little lock alpha here and and this little lock alpha if your lines I will just not select opaque but isolate the layer oops sorry I selected all the pixel on the layer that's not the thing I wanted to do just isolate the layer yes so now we can see only the alpha so the transparent color and the line so as my line as you saw on the previous stream are on a single layer I can lock them and then paint on them a color so as you can see on this drawing I just drew this line in yellow for the smell I will just move back so this line were part of the line art but I prefer to get them in in white and the fur of the cat here was maybe too strong in black so I just pick a brush and a color I am picking a pink so it's really visible and so I can paint only the line if I want on this layer so this is small adjustment because I saw that if I kept the color of the original line art the transition was a bit the contrast also with the white fur and this contrast was a bit too strong you see the line the underline is too big it makes a stylization effect I don't like just so I prefer to make it more bright and I know artists who does it for every material so they pick just the color here reduce the opacity and paint to get all the line matching the the color it does a very soft effect and it's something I like also the color red line effect but it takes time and I'm not fond of getting it over all the artwork sometimes on pepper and carrot I do it you can see it on the comics but I try to to only use it on specific object when the contrast is really hard to feel it's very hard to me so I will have a look at the at the chat can you explain more on how you decide on lighting what color you use for shading yes that's the right moment for this so when I made this layer on the top to to decide the the direction sure I didn't pick a nice this direction for nothing for example in this artwork I will just remove all the shading painting and texture I will show you what alternative I could have so if the light for example if I had like sorry I probably need to create a new layer on top with hard light just to to make some quick notes well so if I had like a car in front and light or maybe a street with a lot of light here I would have this part like this here and this part in shadow so they would have strong silhouette for sure but because I want these two parts of the drawing to be read at first when we when we open this artwork it's not a very good choice if I want the the other way around so making all of this dark like this is the night and we have the shadow coming from here this is like a flash you know when you pick a photo and you are in front and you are also the camera and the source of light and this is not a very good choice because it makes all everything appear in distance here very mysterious so I should I would have picked this if the if we had like a monster in background like this and I wanted to make the picture underline the mysterious effect of this and a contrast between this scene being fun and this scene being mysterious because this light is not it's not bad because you can get your character very light and with a very front light but it just depends what you want to store retail the lighting is really a storytelling device with choosing the one from this side as I did and getting this in light and this a bit in secondary light with the boots it allows me to to get people to to get the context maybe first then move to the next character here and see her face and then understand why she does this face so it's like getting a little round in the picture and to try to play with that and this is just how I designed if I was putting the the light on the other sense on the other direction sorry for my English here it would have been much more complicated for me maybe to to story tell exactly the same story even if here I can expect like a boons of light here so as you can see playing with sketching the light is really quick you can pick a big airbrush and just do some sketch so this allow you to to see quickly what to do what will serve your picture or not and then for the color of shadow the shadow is doesn't really have color so you can't really advise pick always this color and it will be always good I know that there is a lot of artists in comic that says hey pick a a desaturated violet and it works every time but it's more complicated than that a color a single color a bit desaturated with a bit of gray will work most of the time because the truth is a shadow is just the lake of light there is no light on the part but there is still some light if there would be no light at all it would be pure dark pure black even you wouldn't see anything and the fact you see something in the shadow if there is some light in a scene like that it's a light that comes maybe from the sky the sky is a is a big source of light so it's a little blue like this that that comes even coloring the shadow even if the the source of light is very for example yellow everywhere on the scene the the part where the the yellow color is not touching it's what we name the shadow and this shadow is filled with another source of light it can be also a red light that is here so there is always a light always a little light that is filling the shadow so that's why if you pick a color for the shadow for example you pick a dark blue it's because you know that you are not painting really a shadow you are removing a bit of light and replacing by a very low light in blue so it's just how you you turn it around in your in your mind you not pick a color to paint a shadow but you try to emulate some work of light and by removing light it just means going darker and darker so i hope i answered this question sorry to be a bit long about it or picks dark violet on almost any kind of shadow part because we need to save time yes yes i understand this type of of production tips with people who picks always the same shadow but when i look at their artwork for me it looks industrial color and line also sometimes end up making your character looks like they glow yes yes it's good it's a good tips for for glowing effect but i do totally agree ah good so let's move on and going back to not not the shadow the texture paint contrast and repaint so now i will speak about the last step and the last step when you reach at this this coloring for a lot of artists they are ready to publish like that and and it's okay but here i like to put some things over on the top of the stack so the first thing i do is a layer that i named dof for depth of field sorry i have a bit of problem with pronunciating the f so depth of field and it's a it's a layer with the light and mode and this light and mode paint only oh it's a bit it's a bit complicated for me with my limited vocabulary to explain but if you put some violet color on it like this bright violet and if the line are dark under the violet will only affect the dark line if the lighten means it will lighten only the part of the picture that are dark maybe darker than your color so it's a bit confusing but you you will see quickly how you can you can play with it for example on the background all the line were too strong and without this the character looks almost for me at the same weight than this character and this character visual weight it's a it's a sort of contrast and by adding this it's like adding a distance fog on the scene so the more distant the the object are and the less visible they will be because the the line will be will be sort of lighten i can i can show you with uh if i had a pass of uh oops ah sorry just made too much of of undo and now i don't know why but i have like a ghost layer ups here so on this layer if i pick some green yes and and you will see you can get some fog effect in the distance so this is really extreme but i was hoping it was like a nice demo to show the content of this layer this layer property and if you if you use the u saturation and darken a bit like that you can see how it push things into the distance because all the low value are affected by this layer and then you you can paint things to to be really more distance i i also use this layer this lighten layer when i have i could have used it here to to to add some smell or some effect on the top because it's really good at overriding a bit the the dark part of the picture and if you pick a very low color like that it can also just put all your scene on a star on a sort of fog so that's why i name it depth of field maybe it's not a very good one but i always use it to when i have my background that has some line and i want to to calm down a bit like that then the next uh the next is is a ambient color ambient color so it's just a filter uh and by filter i mean like a manual filter it's a layer fillet with a single color here it's violet and it's in color blending mode at 10 percent so if i put it at 100 percent it will color all my picture into only shade of violet it's not what we want but if i reduce it to 10 percent for example it will just subtly do some influence on all the shade of the picture so it helps again to tie all the palette together sometimes i have some here the orange of the cat that was maybe too different of the of the scene that the color and i really like it because it makes a comic effect with color very different but if i want to make the color a little bit more realistic i know that adding just a 10 percent in color mode over all my artwork at the end just helps to to make the picture colors like if they all live together and then it's adjustment so there is one that i really like is the saturation layer and on the saturation layer what you paint on it is just some stain to to manage the saturation of the picture so this is when for example the cat was now good for the color for the u but it was not really attracting the the the eyes so putting a saturation just a little bit higher i don't know if with the video compression if you if you can see the difference between this and that and it might depend also of your screen but it's like making the color a little bit fruity and also use this to reduce the saturation so on the on this part i really said the saturation as well yes it was on the bananas the bananas was a bit too too glowy so i really said it to be a bit more grayish to not stall the focus point and then just a normal paint over because with all this lasagna of of layers with all these layers of layers of layers there is things that you can't control and getting just a normal paint layer on the top for last minute fix so for example the white of the eyes here it's it's 10 times easier to fix them in the top layers at the last minute than to go back on all the stack and and try to know where when i should have put this a little bit brighter so it's a little paint layer and on this paint layer i'm doing usually little spot little white spot or little correction it's it's very subtle sometimes yes i withdraw for example the character they were very not a lot of details so i i quickly add tiny detail on the top and then the last filters i'm using and this is a filter it's a sharpened filter so this is here on the little add a new layer and you add a filter layer so you will get this dialogue and if you go to in ants and sharpen you can add like a sharpened filter like this on the top so this type of layer of very resource intensive if you want to paint back on your picture i advise you to to put off the visibility but if you press them on you will see that the detail will get a lot crispier on the screen so you will get from something blurry like that to something very sharp like that with all the detail about your textures like here on the wall very visible so obviously the default setting of the sharpened filter is a bit extreme you can see it's very noisy so when i when i use one for example mine is here i reduce the opacity of the filter here just 30 percent it's just to to go from this to this to get a little gain so all the texture pop a bit more like that and it's looking a bit better in my opinion but yes it has a drawback you have to deactivate it each time if you want to to go back painting your picture and reactivating reactivating it then to get this this type of a sharp result and here there is another layer but i think yes that's just my notes on the top so that's all for this shading method and if you have now question i will just look at the at the chat during five minutes and answer them and depending the answer then i will finish the the the little livestream so wow a lot oh boy we reached 100 viewer oh thank you okay so it was here depth of field yes my accent what is pepper and carrot about it's a webcomic with a little witch and an ur cat and you can find it on pepperandcarot.com it's probably in the video description is Krita an awesome program of course can it be used to make anim backgrounds sure it can time to make anti oh my god thank you Franco David do you use python scripting feature in Krita 4 uh taiman uh sorry i don't know a lot how to to write things in python uh i'm a python not scripter tweaker i changed the number here and there on already existing script so right now i just look at the script and i just enjoy looking at them uh and using them as a user but not yet i'm not making my own script it will come with time i need to learn more python when learning the technical side of Krita did you look at tutorial or did you self teach um but at that time there wasn't a lot of tutorial uh it was back in 2009 or 2010 almost 10 years ago now and um it was really easy to to find the feature i was needing so and there is also another effect if you learned a painting software it can be a photoshop corral painter or something and when you open another new painting software you might not be able to manage 100% of the feature at first but you can really really quickly find everything you need very quickly because the vocabulary is the same because all the features uh they do think differently but you know you already know what you want to to do as effect and you can see directly uh oh this is a brush this is where the blending mode are uh this is the layer stack and this is a filter and when you get all this logical brick you can quickly already start to to paint in any software so it was really quick to to get the first fundamental of Krita and then i started to to make the tutorial to to to make more tutorial about it any advice in leotine comic i mean in planning the layer do you usually do one panel one file aha so for this the best is uh to dive in a real comic page took took took i go in my pepper and carrot folder in my webcomic and i will pick uh episode with with a lot of layers so maybe this one no i showed it last week so yes this one and first page and you will see the the structures of my comic page all the page and all the krita files are on pepper and carrot so so if you want to open this file you can go on pepper and carrot go to the source category and then you will access to every krita files of every 100 page i made of pepper and carrot but i usually layout pepper and carrot page by page because it's more convenient for publisher and being published for pepper and carrot is one of the target of the project also so having a diffusion on paper printed uh so i started pepper and carrot with the strip format making all the panel on the same page for all the episode and then i i started to break down everything page by page and my file my layer structure is like that so i will turn all down so usually what i have is on the top a frame layer so this is a i will just reactivate the line because it doesn't look good without the line so the on the frame layer oh i converted it to a paint layer this one yes it was to make this little rune dish border so but the the frame layer is often a vector layer so i can move the panel a bit when i need to adjust and then i have my line i have my painting under the line and some things that i show you on this stream so uh the fog effect like this on the floor it's a lighten the the death of field the dof i couldn't really spell some highlight here for the little star and highlight on the character so highlight can override all the line of the artwork like that and then filters like sharpen here i have also a defocus but this one is really resource intensive and i use that only on this episode so the defocus is just a blur a gaugian blur and i painted on this layer part really uh sharp and part very blurry here because it's in foreground it's a bit more blurry you see and it becomes a bit blurry so it's it's just a focus a gaugian filter a blur and because on critter you can paint on filter layer you can go uh to black if you don't want to to remove all the effect and in white to put the effect to the maximum so here you can see that this is a blur filter up painting it black again so i get all the detail on her face and here i can make the foreground a bit more blurry like that of course it takes a lot of time to compute so a texture on the top and this is just a slightly paper texture so it's hard to show you because this is very subtle maybe if i increase now the here for example the you have a little paper texture if i enable and disable it and this is just to make a little grain a little aspect more traditional a composition filter it's just some composition line for me when i i do the the composition of the panel to get the the element at one third it helps me to to compose my panel and to see where i want to frame things like that sorry i will drink a bit of water so i will just scan the chat for another question hello david which linux distribution are you using it's very okay uh is doing an amazing work at replying everything uh he's a pepper and carrot contributor thank him again for managing here and he replying uh well it's uh yubin 2 17.10 gnome yeah you can find it here there is netli app image yes app image of krita but the release of krita is tomorrow so krita 4.0 will come very soon so thank you very much again for uh yeah so yes i was just checking the chat before saying the the last goodbye so thank you very much for following again this uh live streaming if you want to see later all the streaming a check in the description of the video there is all the the the live streaming saved from the previous edition in the description they are listed it will take like three or four hours to get this one computed by youtube to appear on the list but in two or three hours you will see the link and also next week i will try to do something traditional maybe showing how i do my ballpen technique or how i draw on paper i have a better webcam now so thank you very much for following again i'm repeating myself maybe i'm a bit tired this week um and uh if you want to continue discussion you can always go to paper and carot.com in the community uh part of the website there is a link to our telegram chat i iotc channel and everything and i will be on the iotc channel uh so thank you very much and see you next week bye