One of the key signs and symptoms of borderline personality disorder is black and white thinking, which is also known as splitting. So in this video, we're going to talk about exactly what that is, as well as what you can do to overcome it. So stay tuned. What is up everybody? This is Chris from the Rewired Soul where we talk about the problem but focus on the solution. And we are back with another video about borderline personality disorder. One of the key symptoms is black and white thinking. Some people call it splitting. And do me a favor and share this video. Okay. I cannot stress enough that black and white thinking is something that people with BPD struggle with. But this is like a human problem, just to a lesser extent. All right. And we really need to talk about it and really wrap our minds around it because it'll help improve the mental health of a ton of people, even if they don't struggle with BPD. So the first question is, what is black and white thinking or splitting? So I mentioned it in my last video about my personal experience with symptoms of borderline personality disorder. Basically, it is your view of a person and they they're almost like they're two different people to you. Okay. There's a good version of them and the bad version of them. There's no gray area. It's not this person is having a rough day or this person's in a bad mood. It's this person is bad. They're evil. They don't love me. They don't care about me. You automatically just put them into that filing cabinet. I heard somebody say that having BPD is almost like emotional amnesia, right? We forget we forget all the good qualities of somebody, especially because the emotions are so dysregulated and all over the place, right?   So black and white thinking can really, really make your life unmanageable and this is something that I personally struggled with for very, very long time. And right before making this video, I was thinking about, I'm like, man, these things still come up, but they're much more manageable. So in this video, I'm going to teach you a very simple practice that I personally use that really helps me step outside of the black and white thinking, which is very important because like I mentioned before, like I had this really bad problem with just destroying relationships with friends and girlfriends and jobs because when I'm stuck in that mode of this person is just all bad, then I make really rash decisions and impulsive decisions. I will break up with somebody. I will leave a job. I will quit talking to my friend for months at a time. I'll quit talking to family members for months at a time. And it's all because of my thought process and how things work. So this practice really, really helps me figure out what's going on. So before I jump in this practice, here's the way this issue was explained to me. Our brands have this problem separating the truth from the false. So in this practice, what we're going to do is we're going to separate the truth from the false. So the truth is the reality of the situation.  So a lot of black and white thinking is based on fears, fear of abandonment, fear of being disrespected, fear of being lied to, all these things, right? So what we're trying to do is take a step back and logically look at this and say, okay, here's the truth of the matter. And here's my imagined situation, which I have no foundation of proof. Okay. So that's what we're going to do with this practice. All right. So let's go ahead and open up this WordPad document. If you would like, you can grab a journal or whatever it is. Like in this video, I'm going to explain it, but if you want to come back to this video and do this practice, come on back. So let's start out with my mom. Okay. And parents are something we always, we have a lot of issues with. If you're struggling with black and white thinking, relationships with your parents can be tough, right? So for me personally, I'm pulling from personal experiences, like I used to not be self-supporting. I always needed help. I was asking to borrow money and like all sorts of stuff. Sometimes I would ask for help and she wouldn't give it to me. So what we're trying to do is separate the truth from the false. So what are true statements about my mom and what are false statements about my mom?  All right. So truth. What's the truth about the situation? So truth. All right. Let's, let's bullet this up, make it look pretty. Truth. My mom loves me. Right? How do I know that? She's proved it time and time and time again.  If any of you watched my Mother's Day video to my mom, I explained that and let's throw another one on there.  On multiple occasions throughout my life, my mom has come from California to Las Vegas, just left work, left everything and said, I got to go be with my son.  Right? Like, so when my brain is saying all these other things, I can sit back and say, wait, I have examples. Like my mom has helped me. So like we get into this like kind of never mode, right? When we are emotionally and raised, right? We get into this mode where we're like, you never helped me. You never say anything nice to me. You never care about like all this stuff.   But when I can sit back and look at this, I'm like, oh, wow, like she has helped me in the past. She has done things for me. So what are the false statements? Right?  And a lot of these are based on fears. An old mentor of mine, when I was working on my mental health, he said, Chris, it's a lot easier for you to fix you than it is to fix the rest of the world. I'm like, what are you talking about? But this is what showed me like it's not necessarily what you are doing to me. It's the way that my brain processes things. And when I can identify that fact, now we can start cutting the people in my life a little bit of a break. And I will do other videos on relationships and boundaries and stuff like that. But we need to be able to sit back and say, is this rational? Or is this like an imagined fear? So a lot of these false statements are going to be based on fear. So my mom doesn't love me. My mom doesn't care about me. My mom doesn't want to help me. Here's a good one. My mom loves my sister more than me. Right. And I'm sitting here and I'm looking at that.  So let's move on to another very real scenario. For people who struggle with black and white thinking, having a relationship is very, very difficult. I know in the past, like if my girlfriend was busy or didn't want to hang out or even didn't return my text messages, I would lose my mind, right? And people with BPD have very difficult relationships because it goes from these extremes of clinging, I want to spend all my time with you in one moment. And then the next one, it's like, we're breaking up. I never want to see you again.  All these other things. And a lot of those are based on fears too, which we'll get to in a second. So let's say my girlfriend hasn't texted me back all day or she doesn't want to hang out, right? So what's the truth about this situation? All right. My GF loves me. How do I know that? She's, she's told me, okay? My GF loves spending time with me. How do I know that? Because when we hang out, she smiles and laughs and you know, she has offered to hang out with me. My GF wants to be with me.  Now what are some of the lies that my, my brain tells me about this situation? My GF doesn't love me. My GF is going to leave me. My GF is cheating on me. Like when I am able to sit down and write this stuff out, which is why I encourage all of you to do this, whether on a computer or in a notebook or whatever, is because like when I did this, I sat back.  Like I am getting so angry about these things that I have had no factual proof about, yet I am losing my mind. So lastly, let's talk about work and employment. Okay. So I'm somebody who has been fired a dozen times in the past, right? Back in my addiction, I was constantly getting fired and like, I have also worked for some very bad employers. So let's say I go into work and maybe my boss sends me an email critiquing my work or he said something to me, all these things. And I started going into this panic attack, like with all these fears circling around me. And it's important to get this under control because I can be very impulsive.  And I'll leave based on this impulsive decision, based on these emotions, which are often based on lies my brain is telling me. And then I quit. I walk out.  How am I going to feed my son? How am I going to feed myself? So it's important to do this exercise with employers too. So a lot of this too was based on my own insecurities. And this still happens to me time and time again, every time my boss is calling me or asked to see me, right? I start to get like this like little mini panic attack, right? So like, let's start writing down the truth. Okay, the truth. My boss likes me. How do I know that? The dude hired me, right? I'm a good employee. I'm a hard worker. How do I know these things? They've told me this, right? I show up on time. I follow through with commitments. So like, this is important too, because when I'm in that moment in those moments of fear, like I might quit just because I have a tendency to I'm going to leave you before you can leave me and that can happen at work, right? So what's false? My boss hates me, right? My boss talks about me behind my back, right? There's that paranoia. You know what I'm saying?  And then I'm able to sit back. I'm like, wait a second, like my boss like has me do all these things and extra assignments and always comes to me for help and advice and all sorts of stuff. Like, what is wrong with me? And lastly, my job sucks, right? No, it doesn't. Well, sometimes it might suck, but like, you know, let's say if it was my job now, like, I love my job. I love what I do. You know what I'm saying? So anyways, anyways, this is such an easy practice. You can do it anywhere. You can do it at home. You can do it at work. Like just take a second, take a break, go out to lunch, go out to coffee and write this stuff down and start separating the truth from the false that will help to get you out of that black and white thinking because you start to understand that that narrator in your head is not always telling you the truth. Okay? And it's important to identify our fears because when we identify our fears, we start to understand that the rest of the world isn't always the problem. A lot of it is based on our own internal issues. You know what I'm saying? So anyways, again, please share this video if you think somebody gets stuck in black and white thinking. If somebody goes from loving you to hating you, you know, this can help them out. All right? And I hope you practice it as well. Okay? But anyways, stay tuned because I have a bunch more BPD videos coming out this week. All right? And let me know down in the comments what you think about this exercise. Is it easy enough for you to do? Okay? But anyways, if you liked this video, please give it a thumbs up.  Click that little round subscribe button. And if you want to check out some other videos on this channel, you can click a top right there. Okay? Thank you again so, so much for watching. Get out of black and white thinking and I'll see you next time.


Got him swinging. The change-up does it again for Devin Williams. It's been an amazing year for him. Talking to Craig, we were hoping that he would take that huge jump. I mean, I think, as coaches, we all hope the guys take huge jumps like that, but to be the rook of the year and relive the year, I mean, obviously, we weren't expecting it at all. The change-up, and I think Carse has described it as a unicorn, change-up is a low spin pitch. Devin's is quite unique. He spins at a higher percentage and a higher RPM than he does with fastball. He's always had this change-up that was unique, but he really didn't control it. He didn't really understand it, and he didn't understand how good it was. I think that's the big part of it, and that's the great things that our front office can let us know. It's like, hey, this is gonna work, and let's go after it. Let's put the pedal down on it. And then when we were having conversations in the spring about throwing the change-up to right-hander, still in the change-up behind-and-counts, he started kind of reinventing himself and how he was using it, and then he kind of found some ways, oh, man, that really works. And then he went home at COVID and really kind of like kept going with it. And then now we're seeing him kind of take the next step with it's always been good, but this year, with the ability of commanding it and throwing it for strikes in different counts and it had different shapes to it, everything that Devin brings, it's the hand speed, it's the finger length, it's the feel, there's no one in the major leagues that can do it. Now there's a lot of people trying to replicate it now, but it's something he has done for a long time and has really started to hone it and understand it to its highest extent. Again, there's a lot of growth opportunities for him, and I think that knowing Devin and speaking to him several times already in this off-season, I think he's really excited about even taking those next steps.


Ya, and I feel, I want to feel in my heart that that's what we're doing here. We're creating wonderful memories. We can in Afakwans and at Dabo, hashtag social Friday. Yes, I feel good. Do you? I think they feel good too. Let's confirm. You feel good? I feel better. I feel great. Una di competition, like you're fighting with yourself. I'm looking for the right to work. Nasi aili. Sawa rastawa. Uma isama kam kale. Aili, I feel aili. Okay, na jokal. Una pinangarege show. Sawa kwa peptu na kweli. Hi Raji's the teacher. Hi. Una mwa sada kido daya jise meti keteke. Komajina? Raji's the leader. Kwam tandao? Raji's the leader. Mali, wuna chisa leo? Tisha na kwa wama afrika. Naki na chiki kuruka. Aili na addition. Halloween, leo me kwa... What is this? Halloween! Okay, continue. Ten on Sunday, kwa tane saiza Komaro. Kwa nabiki vitsen na zanito omaamba. Kwa tuwa Komaro, club on 59. Karimu pale total. Kwa tane on Sunday. Nopi nanda na n soakedo yapa. Namen bwipa wo urabordurgatida. No, nabiki mwipa. You admit it's up to love slide beats. Right? Wa, na. Reagind ideas. Bonus event. We have two events that were for both each team. 12bit was that. Kup meet wa kwa hiniyia Kweli ake seko aa skumbuki Sob she suka rsha Raji's cha za karya Hashtag social fried Let's play a game before our time OK, it's about that time we play a small game which line is it anyway and I'm going to explain it to our guests Do you have a clue of the game? No, no, no Spend the games. Me na kwa nga competitive. Spend the kushiyendo. I'm going to give all of us, you're going to share a line and then we're going to try and do what that line says. Jesus. So for example, I can ask you to say things you can say about your watch but not your partner. Aha. And then I can look at my watch, you can do it in action so you can say it. Alright, I can say it. Oh, that took long. Bro. What a shade. Aha. I have another example.  Bili Halitumia.  For example, it's easy inches in the mic, so where are you? It's in inches of TV. Come on. It's so flat and clear. I can see everything. She's very good with puns so she's winning. Okay, let me give you the first one. We had places to break into tears. Wow. Break into tears. We had places to break into tears. Yes. Break into tears. Dear Phil, do you take Masi to be your... Yes. Yes, you are gangsta. Okay. Alright. I guess when you... when you are pitching kwa bia shahiru. I want to say beliawa say what, punanzakulia. I want to make a point, then suddenly... I can't pick up another awkward place. Felo Kenyans. Liliya. I want to make a point, then suddenly... We are this way to start a speech. We are this way to start a speech. Felo Kenyans. Felo Kenyans. You are at a UN conference and you are speaking to all the people there. And then you are like... Awo. Awo lanshata. You are not a conqueror. You know when I say, if I give you one conquer speech, you know what I say?  Praise Jesus.   Hi.  Hi.  I am here. I have shared tears of joy. Okay. We are things to do with a cup. We are things to do with a cup. Okay. Okay. Okay. Okay. Okay. Just give me an experience. What happened? I am not saying. I am not saying. Sounds like a truth. I am trying to... The mat is not mati. No, I just need to... It's possible. Yeah. Well, something that just happened before to kujia, na jotul fika mapeima, tukenda kwa kibanda, paivin yuma. So, madam malko matu ziachaya na tuliza. So, matuka size ganyaki kum. What cup size?  Hami tebeak, kuchakusami choka na kikiyu. And then kuna trafik mombasa rondu. And unfortunately, there's an expectant to maini. My water broke. Can I live? I can't believe it. Whoa. I'm sorry. Ha, I knew what was. You did it. I had a kitchen in Kituwa. You did it?  Sezi Get out of here Sezi, waha gini Uganda wana piga magoti I can do in Kenya but I can't do in Uganda Uganda Progress You are too personal We can do it Now we can do it We can do it We can do it We can do it At me nama say na last word Last one We had places to drop a pickup line Mazushi We had places to drop a pickup line I can do it We can do it We can do it We can do it Sezi It's so boring First of all, we can do it First of all, we can do it That's a good question We can do it I can do it I can do it We will try the mostue Every place that we drop a pickup line All alone You can not Kiss the pride You wrap this up Wrap it up Wrap Wrap it up We hope that you guys watch them You can remind us again where they can get access to the film Go to www.filitv.com P-H-I-L-I-T-T-V.com Film is only 200 Bob Ukipate yo link, kunai watch forever It's a new way of watching movies in Kenya Manzei were iko kwa simu And very soon tunai introduce kitu To live and be easier to watch it So keep it locked www.filitv.com Bidina matafadali Netweze kumlipa He's in the social media Masimu tista I'm just on Instagram Tiktoker I try to make it sit in ngumu It needs a lot of energy So let me not sit in ngumu It's distracting now for the writing So the kind of work I do I really need to be focused I have tiktoks We weren't allowed to say Karebo, we had a friend of Rajiz 5000 he had been struggling when we had released a video a last month But this change was impossible on Instagram And you can see my video on social media platform on TikTok Also remember tabs on the beautiful models that were here Tiktok 2 Mine is Masai KTA Naya Rajin Duhu Rajin Duhu Akuna underscore Tata tu Apoka kichro Ui So go and look for the head Not the tail Don't look for the tail Look for the head I can find Rajin Duhu Apok Yes, I was busy discovering FilitTV.com I'm now keying in my email address Okay, so what happens is you go And they ask if the mode of payment I have chosen mobile money So a much to pay, minimum is 200 But I am with the understanding that sometimes people pay more Most of the time actually One of the main feedbacks we've received is you guys are underselling it Wow We're not just asking you to support We're asking you to buy something that's That's valuable We put in work So you have to support too You're actually getting value for your money But also like that That's the price range you put because then it did not shut out A lot of people If you want to buy for 1000 Bob it will even give Other people a chance to buy And what we're doing is For us the main thing is we want to build the film culture So if you buy more than one link We make sure The extra links we give them to people Who can't afford Just so that they can watch Okay, to be completely honest I think I've just bought one link It's okay, but I don't know what to try to But it's okay I don't know much about access I don't know so much about access But that is much to link That's one and a half It's okay Okay, so there we go I have access Yes, I'm going to watch this movie I didn't want to watch the movie yesterday Because they were coming So I had to do it I don't want to watch the movie I don't want to watch the movie I don't want to watch the movie I don't want to watch the movie I don't want to watch the movie Anyway guys WhiteFour 4 on Facebook WhiteFour 4 on Twitter WhiteFour 4 on Instagram WhiteFour 4 on Twitter checking out our videos A few of them either Titi Bandan All we are doing is Parzy Other people want to see One thing You need to be in contact with Need to be And bring along There's one question And be responsible As they stand up, Rajiza nia bhenu kumushe club 159 Nia kuna kutia na wuko Nia biki viki Nia mamba When you let them mamba, wukai na uemu genu Aya Wana niliza, kila mutu wakona Iyo, see ya Fresh videos Fresh Baby fresh, cheza Nga maia fresh kemi ka


All right, welcome to the January 15th and on credit's working group meeting holiday in the US didn't realize that until a few moments ago. So we'd have less from the US here. But anyway, everyone, as I said, all the right people are here reminder that this is a Linux foundation and hyperledger foundation meeting. So the anti-trust policy of the Linux foundation is in effect as is the hyperledger code of conduct. Let's be good to one another on the agenda. I really want to focus on nailing down exactly what we're doing as far as implementation so that we can get started on the implementations or continue with the implementations for those that have started. And make sure we've got a good design for the frameworks and interoperability. So that's going to be the focus of today's call. And this is about an on credit W3C format. Before we get started, any, welcome to all thanks for attending any introductions people want to make or announcements or any updates to the agenda people would like to start with. Feel free to grab the mic. One of the things I should highlight I noticed as I look over at the list and see if anyone jumped up to the top to speak. Artem is at the top of the list. Artem, fantastic work on keeping up with the requests. All the merges of the major tasks have been done so much appreciated for that. Fantastic work. We finally merged the last of the three major big PRs. We've got a couple more for evolving the predicates a little bit as per requests that have been made. Since since more since the major work was completed. So thank you for that. There are a couple of PRs in there. The CL signatures one was merged today. Enabling the predicate list and we'll look at anything else that might be needed. All right. I think, you know, after doing a bunch of reading yesterday and going through things, I think this represents this presentation represents where we're going and allowing us to really move forward with this. So I'll just go through this. What the heck if I can see it, why might as well go into I can't move things around. Why not? I don't know and I can't see because of where zoom is the slideshow, but I won't even bother. All right. Goal is agreement for finalizing the two designs and adjustments we're going to make in the library and able to enable support of this interoperability components. What are we going to use for issuing and presenting and what attachment formats to use? And then what are the behavior changes that we're going to see in issuers holders and verifiers in and occupy and and agent framework JavaScript in order to both enable the functionality allow issuance holding in and presenting of such credentials and and what triggers these things and then what's in and out of scope. And this last bit, I was a little light on, I was surprised that I didn't have more in there. So I might not have thought of enough things. So let's keep that in mind. And if I've missed things there, please let me know. So I think what we've agreed on is that issue credential protocol will use the proposed new attachment format of RFC 089 W3C data integrity attachments. Timo has put the pull request in here. So we've got a description of what will will be produced in this document. It's pretty clean and concise. We've got an offer attachment, a request attachment and an issue attachment for the items we cover. Detection of when in an on credits credential is to be used what the binding methods are when a we could have multiple signatures on it. And how that would get implemented. So all of that is, I think, well covered. I don't doubt we'll we'll uncover things in the implementation and that's fine. We can and and I'm happy to what what the areas community decides as far as merging this either ahead or after the implementations is fine. But this is what we'll drive off of. Agreement on that any comments questions about that great work Timo on that. Now we've got test vectors available for those attachments. So there's a repo. There's an offer or request and an issue. So if I go to the repo. It's already open, I'm sure, but and look at the vectors. In particular, the D I offer the D I request and the D I issue are the main ones with this extra one being the holder binding for when we're using a non and on credits. So these three and I've got links in the presentation and I should share the presentation. I don't know if anyone. Actually, I can't see the share button either. I can't see those buttons. Maybe I really need to do things around. Okay. Pop that into chat. Okay. So those test vectors and and again as we discover anything in the implementation in the attachments or, you know, and in the test vectors themselves, we can we can adjust them. So that's issuing a credential that only covers issuing. So the proposal as well is that we present protocols using the existing diff presentation exchange attachment format. And this is a relatively big change for an on credits in that a request will come in via a diff presentation exchange. Will be processed. And a presentation returned using that format. Timo the big question I had I was kind of surprised at. I thought the submission would include the proof itself. Am I missing something, or where, how does the, the submission and the presentation. Connect, or what happens in the presentation message or both the submission and the presentation set independently or what's the process. And you would sense. So it depends on like which protocol you use but what did come you include the submission within the presentation itself so you would have presentation submission key in the verifiable presentation and that contains it so I can maybe add another example where it is the combined version of those two. Okay, could you please do that because I wasn't clear. I know about a submission I know about presentation I don't know how they they connect together based on this. So there's an example in there. I'm looking at one in the presentation exchange thing. There is a presentation exchange but it's the submission. So the diff presentation exchange calls for a submission. Which is just this. And then, and it is combined in some way and that's what I'm not quite clear on with the W3C presentation. Which is here is what that looks like. Yeah, so they'll just be in the presentation here as a key presentation. Okay. Added here as the submission would be right here. Yeah, at the top level. So go to that's part of the diff presentation exchange back and it is what gives the map between the request that came across, which is the definition and then how you interpret the presentation to map it back to the definition that came in. Okay, no, having an example will be great and yeah, I appreciate you having those. Okay. I think I put this in here because this is I think we will we will have clarifications and perhaps changes necessary to the 510 protocol. So let's see how to handle it clarifications just for those new to the areas clarifications we can put in without any, you know, version change or anything changes might entail a minor or a major upgrade to the version. So the goal here would be to implement something regardless of what happens and we'll do we'll deal with a fallout of changes of versions and so on. We'll do what we need to do to get it to work. As far as this work context and we won't worry about the administrative overhead of actually getting the changes completed and through. Hopefully that makes sense. I don't want to hold up any implementation because, you know, we've got to get approval to change the version or anything like that. We're just going to get something working with agreement across and and go from there. Okay. The biggest thing I see there is that an on credits has more powerful restrictions than does diff presentation exchange and so we're probably going to lose some functionality. I think. But we'll live with that. So you seem pretty happy that we can do this in a reasonable way and weren't too worried about the loss and and and in many ways we also get we add functionality I think as well. So it's kind of a trade off we'll see how it goes. Okay. Yeah. And I, I don't think we're really losing any functionality. Because I was thinking, and you can even do a on a input descriptor you can do multiple predicates. It seems because you can do like minimum 18 maximum 21 in the same input descriptor and I don't want to be able to create to get some pretty good proof from it. So I don't think we lose any functionality. No, I was thinking more of the restrictions on things like the credit def ID, and things like that. It's the restrictions. The other thing I didn't know was, do you have an example of where the verifier expresses revocation, and how we would do it and Okay, could you sit it again sir. How a verifier expresses that they want a proof of of revocation. I'm okay in losing some of the interval functionality because I think it's dumb. But what, how exactly does a, and a non creds verifier say I want revocation proof of non revocation. I think there is a section I think in the facts back with I'll find it and send link in a bit. Yeah, no rush right away. Okay. Okay, so now this gets us to the behavior changes. And, and here's kind of what I'm suggesting. It changes with an issuer, a verifier and a holder. So with an issuer. The constraint I'm suggesting is that only the issuer via the offer can initiate issuing and an on credits W3C VC. So the holder does not have a say in it. But the issuer does. And the trigger is that they use the 80809 attachment with an on credits settings. They assume that both the issuer and the holder are both supporting it on credit W3 PCs. I'm not sure exactly if how or if we can support both the 1.1 or the two and the two, but we might be able to was just something we'll figure out as we go but I don't think this is a major issue. I think this becomes just something we implement or, you know, worst case hard code into the into the implementation, wherever it happens to be. I had thought it needed to be part of the. And on creds RF library, but I now think it actually. Is is controlled by the controller of the issuer. In other words, it's a business decision that can be made at runtime essentially. So we'll see how that goes. Not a big deal on that for now. We'll use the 1.1 for initial initial work and we'll see. As the implementation moves forward. So the issuer via the offer initiates issuing an on credits in W3 CVC format using and it's done from an interoperability perspective by using a 0809 attachment, the D I. VC attachment. Issuer encoding of the credential attributes is dropped that would be normally done in a legacy and on credits VC, but we don't have encoding in the W3C. So that really is the change in the issuer obviously they have to be hand able to handle receiving back the 089 attachment and sending an issue in. Sorry, sending the issue message with the 089 attachment. The trigger is the offer, but after after the offer is done. They'll be back and forth using the new attachments. The future possibilities could be that a holder responds to a legacy and on credits format offer with a 089 attachment and transitions over so that the holder says, hey, I want it in W3C format. The other is that the issuer could fall back if they get a problem report because the holder doesn't understand the 089 attachment, so it's an older attachment and they get a problem report. Again, those are future possibilities, not something we need to worry about in this implementation. The only thing we're going to have is that there's somehow the issuer will be able to say. This offer using the 089 attachment and that triggers the entire flow the rest of the way. Everything else is based on receipt of information and the processing. On the verifier side when we're talking presentations and I did verify our first and then get to holders because holders are affected by both issuers and verifiers. Verifiers use the 0510 attachment format to request a presentation and so they're using and so they expect back a W3C verifiable presentation with a diff via the diff presentation submission. And it may or may not contain in an on creds presentation. Essentially, what we'll talk about what the holder does, but the verifier simply uses what certainly an ACAPI is existing functionality to send an attachment format. There may be updates needed again to deal with the risk, the way that an on creds restrictions are done in the way that. Revocation is invoked with the way the verifier is expresses that hey, I need a proof of non revocation included with this. Pretty much that should be done in the business logic side and as long as the. Verifier can process the attachment and send off the request that should be fairly straightforward in there. Again. So holder implementations respond with non and on credits presentations, they can do that if that's what satisfies the proof request and and then there's the thing I mentioned earlier about. There's some features in an on credits restrictions, what are called restrictions in the presentation request format of an on credits that we lose. And so we'll have to take a look at that. But again, I think that's mostly in in what the controller constructs as the presentation request and then hands to the framework, whether it be ACAPI or AFJ. Obviously verifier needs to be able to process presentations with zero five 10 attachments. So receiving a presentation from a holder that contains an an on credits format VP. They've got to be able to receive the VP and go, hey, the crypto suite is an on credits. Therefore I passed this to be handled by the non credits verifier or the code for verifying in an on credits verifiable credential credential. And then again, in verifying the credentials, the encoding of revealed attributes must be done. I'm not quite sure where that happens. I wasn't clear on exactly so we'll run into that in the implementation. It'll be it'll be clear in the implementation, I think. But the encoding is in order to be able to verify you have to encode it. I think it's done in the in on credits RS implementation and the verifier won't need to worry about it, but I, we do need to verify that. Okay, so that's the verifier we've got the issuer it triggers it through an offer the verifier triggers it through the use of the dip presentation exchange and now we've got the holder behavior. Once again, the, the proposal messages out of scope, which is one of the messages in the issue credential protocol. So we're not going to worry about proposal at all we're assuming that we only have the happy path case of an offer a request and then an issue. Holders can receive credentials using the existing 592, which is the legacy and on credits mechanism and the JSON LD mechanism so we don't want to disrupt those, but we do want to support the new 809 attachment formats. So they would be able to receive. So existing functionality should keep working and the new 809 attachment formats come forward. If there are is their holder code and this is something I didn't know about AFJ and whether it supports 50593. If it doesn't support it today it doesn't need to add that support obviously the only reason we continue to support. 593 which is J existing JSON LD functionality would be if it's already supported. Holders would be except expected to send the request message in the same attachment format as the offer. So if you get an offer in the legacy in the legacy and on credits format, you would respond with a request message in the same format. If you receive a request in the 089809 format. The holder would send the attachment back in that same format so it gets a holder gets an offer and it responds with a request using the same attachment format. Holders must generated the revealed credentials. I think I got lost in writing that. Yeah, I don't know what I meant by this. I'm just going to mark it as I can't quite see yes I can. I'm not going to delete it because I don't know what it means yet. I'm sure it was something important that I was thinking about. Okay, so that's the holder behavior. So a holder can't initiate. A issuance in. Um, cannot. Generate an issuance or sorry cannot trigger the use of. W3C format and on credits, they just respond to whatever the issuer says. Old format or new and finally, um, on the. Uh, on the verification side, it's the same sort of thing if the if the we don't want to disrupt the existing. Receipt of a legacy and on credits presentation request if that comes in everything flows as it exists today. If the holder receives a 0, 5, 10 presentation attachment, which it certainly in occupy can be done today. What changes is the holder should include health and non credits credentials in finding the credentials that satisfy the presentation. So today. When when a 5, 10. Attachment is received. Only Jason LD credentials are considered as a way to respond. And so what changes now is when a 5, 10 is received, then an on credits credentials may be used in responding. Um, if they are used in responding, we conduct it. We construct a and an on credits verifiable presentation. Um, I did include this and I think this is okay to include, which is it doesn't matter what format. The an on credits credential was received in whether it was received as a legacy and on credits or a. Uh, W3 CBC format. Uh, and on credits either 1, our candidates to be. Used in a 5, 10 presentation attachments and the non credits r s. Functionality, I believe covers that. If we run into implementation issues with this, we can we can address it, but I think this is a safe assumption to make. So essentially, when you get a 5, 10 presentation attachment. Any credential in the wallet is a candidate. For for use in the presentation to be sent back. And then holders send the presentation messages using presentations using the same attachment format as the request. Again, this idea that. If I receive a legacy and on credits presentation request, I'll respond with a legacy and on credits presentation. If I receive an 0 5, 10. I will respond with an 0 5, 10. As far as out of scope, there was a few things in there. We're not going to worry about right now doing issuing credentials with multiple signatures. We'll experiment with it as the implementation gets done, but it's not required. It would be great to have any to-dos tracked and noticed if if. Of what would be needed to make that work. This topic came up last week a little bit. And Timo, I don't know if you want to. Document this anywhere, but we'll assume that if you're going to use both. An on credits link secret holder binding plus a signature. A signed attachment. Holder binding for a non and on credits credential that there there must be an ID in the an on credit schema. Will we, as in with my BC gov hat on will worry about the creation of the A A T H tests. So people will not have to learn how to construct those tests. And, and we can prepare for the execution of those tests. So. We do assume and this was in the code with us that best practices as far as unit test unit tests be done integration tests be implemented. Those are going to be necessary. So those are within the CICD of the frameworks, but the A A T H across will worry about separately. And we will execute them and raise issues if there's problems. So I think that covers it. I've talked a lot. Any questions, comments. Okay. Um, I did expand on this in the. As a hack M D document, which evolves the acopie design document that we that has been worked on and I apologize for transitioning it from a GitHub document to hack M D. I don't know if you're familiar, but it's just marked down, you mark down on one side and mark down visibility. This is more like Google Docs and I actually tried to put in a Google Docs later to try to make it easier, but we I'm happy to use Google Docs as well for this, but I think we need to iterate a little tighter than we can do with GitHub. So I re re re re wrote some of this up front. And yeah, we can go to sync between them, but I, I felt it was really hard to put them into comments and questions and then have somebody else write it. I just wanted to write some things. So I've tried to put in here as as much as possible. What's needed for the acopie work. And so invite you to look at this. So with this, we can obviously make changes directly into the document to fix it. We can see the track track changes or versioning is automatically on. I actually paid for hack M D finally, so that I've got all all versions. Unfortunately, I did that after I did all the updates and hack M D if you're using the free account only keeps 10. So it lost the changes that I made from the original document. So apologies for that. But going forward, we can see changes anyone makes. So feel free to make direct changes into this document. There is a commenting system that you can use or you can just say, you know, Yeah, that Steven says this is silly. Since I wrote it, I can say it was silly. So feel free to put a comments in there and I'm hoping this helps in leading to jumping into the presentation or jumping into the implementation. So I think we can nail down exactly how to do this and get that first part complete faster. And, and an easier way. Yes, the hack and the link is let me grab it out of here. Where did I put it? Oh, you know what I did is I put it into the. No. Hang on one sec. That's not grabbing. There we go. So I put that into a comment in that but here is the hack and the link. It is open for everybody to edit. So you should be able to edit it right away. And I'll go through and and continue to. Monitor that and help out as much as I can as far as nailing down that. I've also lined up a acopai developer as a. As a guide for development. So you'll have that resource available to you for as you jump into the implementation to be able to. Define the code parts of it. That is a level I'm not able to help with. I can help with an awful lot on the protocols and and that experience. But when it gets to changing line 792 of a file, I'm not going to be very good. We appreciate it. We have Daniel when we need him to, but it would be super to have an additional resource. Exactly. Exactly. And I'm hoping you use it. Yeah, Daniel. We'll jump into that as well and and play with that and happy to have direct meetings now that we're implementing in acopai and we're ready to implement. Let's let's have meetings on within with an acopai maintainer directly available. Great. I'm excited. Yeah. Yeah, I'm really excited to get to this point. It's time. Okay. Back to here. T mode. Did you hear anything that scares you or Martin, did you see anything that is unexpected in any of this or is this what you intended. I think it is what we intended. Excellent. Okay, good. Yeah. Savory. Awesome. Okay. All right. Anything else to talk about today? Excellent. Well, as they say, Peter Golda do check out that document encourage Daniel to take a look and let's evolve. Let's iterate on it. And get it nailed so that we can get going on the on the coding on the acopai side. Yeah, no, no, exactly. And I think Peter was about to email you to schedule a meeting with you. So he'll probably do that. That's awesome. Excellent. We'll have a wonderful what remains of your day depending on where you are. Thank you. Thanks. Thank you. Thanks all much appreciated.


As you know, the Fed yesterday, as you probably know the Fed yesterday, increased its key interest rate by a 25 basis point, so a quarter of a percent. This was what the markets anticipated, although just two weeks ago the consensus was that the Fed would increase by 50 percent in order to fight inflation with the idea that the inflation numbers were still high and the interest rates need to go even higher. The economy slowed down even more so that inflation pressures would be mitigated. So in the battle with inflation, the consensus was at least two plus weeks ago that the Fed would increase by 50 basis points. As a consequence of the banking crisis and the problems with banks, some were speculating that the Fed might not increase interest rates at all and by doing so try to help the banks. At this point, banks are hurt with interest rates rising because that hurts their investment portfolio. But the Fed decided to split the baby to go half-half and take the 50 basis points and the zero, those are the two targets, and go 25 basis points right in the middle. If it seems stuff like it, then NASDAQ S&P are all up today, but banks don't like it. Bank stocks are being pounded again today and are down today quite a bit again. So a split in the market, although, you know, again, if you understand the economics and all of these things are connected, there's no way in which, there's no world in which banks doing really, really badly is good for the S&P 500 and NASDAQ. So this divergence is a little questionable, but clearly money is flowing out of investments and banks and into investments and pretty much anything else, and that is driving markets right now. Did the Fed do the right thing? As I've told you many, many, many times, there's no right answer to that.  If you do more damage, less damage, 25 basis points, you know, seems to be, they guess at less damage. If they'd gone to zero, the markets would have accused them of not taking inflation seriously. If they'd gone to 50 basis points, that would have been viewed as they're not caring at all about their situation of banks. They did indicate yesterday that it looks like they won't have to raise interest rates much more. They believe at this point that inflation is under control. We will see if that is true or not. And that may be another 25 basis points increase, but that might be it for the year. This is again a major change from what the Fed was saying just about a month ago when they were expecting significantly more increases and they expected inflation was a lot more stubborn than what they thought it was going to be. So things change and things change very quickly as data comes in from the world out there and as the implications for the route in banking to the, in a sense to the real economy once those are factored in. So the Fed is doing what the Fed does. It's trying to use whatever mathematical models to make the best estimate that it can and do the least damage possible. Of course, the cause of the entire banking crisis and the cause of inflation is the feds and the Trump and Biden administration. It's a response to COVID. It's the massive influx of money, massive increase in government debt. It's to some extent the monetization of that debt. If you were by the Federal Reserve, by buying all those bonds and facilitating massive liquidity during the financial crisis, these are the causes of inflation, the causes of the banking crisis, so the root cause of everything going on wrong in markets right now and in your cost of living right now and the fact that it's much more expensive to live in America today and in the world really. All of that is caused by government and we should never forget that. What the Fed is trying to do is undo the damage it has already done. The federal government doesn't seem to eager at all to undo the damage it's doing. No move whether by Democrats or Republicans is being taken to reduce the deficit, to reduce government spending, to signal a seriousness about deficit control, nothing. So what I want to emphasize, two things I always want to emphasize when talking about the Fed. One, nothing they do is right. It's just a question of how wrong are they. And second is the crisis that we're facing, the problems that we're facing, the challenges we're facing from an economic perspective are the result of government action. And the tragedy is, of course, that nobody seems to care. Nobody seems to act on it. Nobody seems to derive any conclusions from this about the role of government in our economy and what the role of the government should be. If anything, the cause are for more regulations, more controls, more government intervention. So if we're talking about the government causing problems, I think again it is really, really important that we look at the current banking crisis and try to identify at least some of the causes for it. And again, I think you will find that many of these causes, or all the causes, are basically government. We talked about the fact that government, because of deficit spending and printing of money, caused the inflation, which caused interest rates to rise, which has caused the investment portfolios, banks to decline and therefore the value of the assets to decline and the liquidity to decline. And that is basically a major source of the bank runs and a major source of the problems within banking. But that was well known before the collapse of Silicon Valley Bank. And that in and of itself does not explain what happened and it certainly doesn't explain what happened to, for example, the signature bank in New York. Thank you for listening or watching the Iran Book Show. If you'd like to support the show, we make it as easy as possible for you to trade with me. You get value from listening, you get value from watching, show your appreciation. You can do that by going to iranbrookshow.com.  Also if you'd like to see the Iran Book Show grow, please consider sharing our content and of course, subscribe. Press that little bell button right down there on YouTube so that you get an announcement when we go live. And for those of you who are already subscribers and those of you who are already supporters of the show, thank you. I very much appreciate it.


Welcome to Monet Café! My artistic friends, visitors and subscribers and I'm very happy to be bringing you another in the beginner series videos. This one I'm calling Pushing Color. I often get questions from you guys as to how do I get more dynamic color in my artwork or reinterpret the colors that are in a reference photo that may be a little dull or you know something you just want to change a bit. And so in this video I hope to share with you and answer many of your questions as to some tips on how to accomplish that. Now here's a quick image of some of the pastels I used and I will go into that in more detail. But first a precious little moment I didn't even realize I captured.  But also too I'm wearing one of my t-shirts here and just so you know these t-shirts the happy painting t-shirts the art all colors welcome and a few others are available underneath my YouTube videos there's just some little links to those if you're interested. Here were my initial pastel selections and I apologize for the focus autofocus trying to focus there but as you could tell by the final painting if you recall I did add some blues of course for the sky but I in this painting I chose to keep the greens and everything a little cooler and to do that I really wanted to do a combination of these beautiful lavender purples and those cooler greens and if you notice like right here I think this is a Jack Richardson pastel I chose a lot of neutral see even this is a neutral and I just I don't know I had it in my mind to create a neutral palette and then just have a few colors that were a little more bold and all just so you know neutral colors just think I'm a kind of as dull colors they don't have as much brilliance or bright color now here I'm using a piece of Cinelli a la carte paper it's a called pastel card it's very rough in texture and I like that it keeps me very impressionistic but it is not water friendly so you don't want to apply watercolor or anything with water as an underpainting I did have a question the other day which is a great question I actually forgot at the end of the last video I did that I was working on Cinelli a and I I brushed off I showed how you can actually erase pastels with a bristle brush and I used some spray fixative that I often do when I want to get more grit and forgetting that it was Cinelli a la carte card and you're not really supposed to use water but the just so you know the spray fixative worked great on this it didn't warp the paper it didn't affect it in any way so I kind of made a happy discovery there so to my knowledge and from my experience you can use workable fixative with the Cinelli a la carte card a part in my voice if it's a little raspy some of you have followed how my husband and I've been sick from the mold issue we had in our house and we just recently had all of our floors redone it was like a miracle that you know I thank you for all your prayers we got a lot of that accomplished and and it's just so great so I've got a lot going on right now but I I did want to share this is actually a painting that I did weeks ago and just had the footage so let me actually talk about what I'm doing here as you can see I'm using a just kind of a dark warm I believe this might be a new pastel it's a just a harder little pastel you can use whatever pastel you want but get a darker value medium dark value and all you're doing here all I'm doing is blocking in shapes I often use the side of the pastel because I don't want detail at this point I'm just getting a composition and the more you do this the more you learn to see the big shapes right now here you can see I'm working on the the shadow there is a shadow being cast from that tree and that's going to enhance that composition to give some interest at the beginning and just kind of draw the eye in now if you notice underneath I have the reference photo up to the top right there and that actually is my photo from a little piece of land and property that we have we hope to build a house on it one day we're still kind of in temporary living conditions but I love that field it's just so beautiful but underneath it is what's called a value study or a no tan and all it is is a quick little drawing that's just the values to get the composition and the values correct and in the beginning of the video series you'd have to go back about oh gosh probably five or six maybe more videos where I started the beginner series with how to do these no tans these little value studies they are very important if you want to really create a good roadmap to where your paintings going to go and they're kind of fun you know it just relax and joy do a lot of them don't take them too seriously and the more you do the better you'll get so I'm even putting in there are values in the clouds I mean we have a tendency to think of clouds in the sky as white but I'm now doing the the blue part of the sky in between the clouds and again I'm not thinking about these being clouds I'm just kind of squinting my eyes and looking at where the blue shapes are in the clouds and the more you can get your mind away from what am I painting and zone out and just look at the shapes and the values that's one of the greatest things you can do especially at the beginning stages of the painting is to focus on big shapes and values and work all over the painting I get some good questions about how do I get a more impressionistic feel and that's exactly one of the ways you can do that is don't get too tied into one area of the painting too quickly get those big shapes and values and to begin with keep it very loose and free and that will help now here are three of my darker values that I'm using I don't know what I'm holding my finger up for oh I added one I've got in the purples that I said I wanted to create a color palette that was more of a cooler color temperature with purples and teals and so that's why I'm using some of these purples as dark colors that I'm putting down and shadows that I'm putting down okay now I added and again sorry for the focus one of the blues that blue is going to be some of the blues in the sky that I have and most of those the one the purple one on the far left is a Terry Ludwig and then the two are two in the middle there were Jack Richardson's they're a little bit harder than Terry Ludwig's or Sennelier's and let's see what this one is yeah that's the one that I'm going to use basically to get the darker dark so I'm just gonna go over what I've already done and get in because that's all kind of just general and now I know that the things that are closer to the foreground if you look at the reference photo and even my no tan sketch the trees that are closer in the foreground the one closest to me is going to be the one on the far left and the one I'm working on right now is a little further back but it's still very dark it's going to be the darkest value and I talk often about how in pastels and actually even oils and acrylics we typically work dark to light you want to get your dark values down first because you can add lighter values on top of those and that's opposite of watercolor and watercolor you want to work light to dark you want to preserve those lights because you really in watercolor you can't really get them back I mean you can use some gouache or some other things to maybe get the white back to a degree but it's never the same as that beautiful brilliant white paper in a watercolor painting so that's the opposite of pastel so and I typically work in value layers now see I'm picking something that's a little bit of a lighter value notice how that's it's a little more dulled down in color and see how I'm pointing at those are where the trees that are a little further away notice that particular pastel it's a little grayer and it's lighter in value if you squint your eyes it's not as dark as that purple that I put down so I'm going to be using that for those distant trees or the the next layer or level of trees and also I believe like for some of the shadows in there okay so at this point I'm just working the values like I said the first thing I did was just to get an initial big shapes in with one color pastel and then next is to get my values established very loosely and keep it loose and free and keep focusing on big big shapes and not too much fussy detail okay now I think I'm comparing some of the other yep I think that one's going to end up being too light for the yeah there we go the more distant trees are going to be a shade lighter in value than the middle ground trees that I just did so as you can see just with these three values not counting the the one that I did for the kind of under painting sketch these three values are going to give an illusion of distance and I just think that's what's so cool about art it's really like magic and I always say not like dark magic that's not what I mean like illusion magic I was always fascinated by that as a child as a matter of fact I did magic I my dad one time went to some convention he had gone to and there was a shop that had some magic tricks and he brought him home to me and I studied him and I just loved it and I got into it so much that he actually found a place that taught illusionary art and I took lessons there and I ended up having my own little show at like oh gosh what was I 11 years old my maiden name is moss and I was magical moss and I had my little suitcase of tricks I even had ones with with fire it's called flash paper and I did birthday parties and school things and and it was a lot of fun I just loved the idea of creating something that was an illusion that would trick your mind and that's really kind of what art is we're tricking the mind to imagine or see a three-dimensional image on a two-dimensional surface and so the neat thing is that's really all these things are is they're tricks and not bad tricks but fun tricks and so when you can learn those tricks I really think anybody can paint now of course we know there are some people that have these god-given gifts that they just see it and they get it faster and they do it more quickly but if you if you love it and you want to try it you can definitely learn to paint it definitely takes practice and patience and a lot of work and I know at the beginning stages you get frustrated and there's times where you feel like I can't do this and why am I even trying and and please I did the same thing I still do that sometimes when I get frustrated and go what am I thinking I this is terrible but those are just you know parts of it of the whole process that's the same with anything it's the same with music or any kind of thing you do I'm sorry I step on this side of the painting sometimes I need to get to the other side and I'm left-handed and I actually think it I think I had my pajamas on this I got up early in the morning I love early morning paintings that's just some of my favorite now you can see here all the colors that I've chosen thus far are cooler in temperature okay I've got purples and blues and I'm not getting over detailed or crazy with color now I'm using that lighter the little bluish grayish one for the clouds even though I think I light them up whiter later I'm just getting those shapes in with what have I got like four or five values that I've gotten in here so far and so once you get that done then you can start getting a little bit more serious with color or more particular with your color selections and choices so okay let me I'm going to speed this up just a bit to finish this initial this is kind of by the way like the underpainting you know a lot of other paintings I do especially if I'm using UART paper I may do a watercolor underpainting a gouache underpainting an acrylic underpainting a what are they called neocolor wax pastel underpainting there's so many different different ways you can do that but for this Sennelier paper I often because it doesn't take water just do an underpainting with pastels okay and again if you're very new to this all an underpainting is is exactly what I'm doing here getting in your big shapes your values and covering that big expanse or in this case it's not a very big piece of paper but covering the paper so that you have a a goal or a a roadmap for where the rest of your painting will go all right now my big heads in the way again now I've got a little bit of a darker lavender purple value and I'm just working that in areas would have that medium dark tone and all of these are going to kind of peek through the grasses that I lay on top and that's another I said I was going to speed this up and pause I can't quit talking today but all of this is going to establish a mood and a little bit of color that's going to peek through the rest of the painting when you add the greens oh and that's what I was going to say is another key thing especially these beginning stages well really the whole time is to keep a light touch don't press down so hard that you lose your grit of your paper and at the end you know sometimes you can do I like how Karen Margulis says it you can do shouting marks when you've got your final images that you want to make the most impact whether it be some flowers or whatever that's going to be your main focus in your painting but before you get to that point you want to keep all of your strokes very soft and not press too hard another reason for that okay see now I've gone to a more bold in color darker value now what do we know about bolder colors or more intense with their chroma is that those colors are typically closer to us I wouldn't want to use that purple way in the background because I'm going to lose the illusion of things being far away what do we know about our eyes when things are really far away from us you don't see the color that vividly and they're not as dark they're they pale out and the reason for that is because even though you can't see the atmosphere the air it's there and when things get further away you have a lot of atmosphere in a layer between you and what the object is that's far away think of distant mountains why do they always look blue because things cool off in the distance because of all the atmosphere between your eyes and the distant things so they cool off they get lighter in value and they get duller in color and again if you can remember those three things about how to achieve that illusion of distance that is definitely going to help you and now I've I've basically got my underpainting done so what I'm going to go and do now is reestablish or establish the darkest darks in this painting and again that's going to bring those trees a little more forward I believe I don't think that's a terry Ludwig eggplant that's a purple color a really really dark purple color that works great for darks no this one's a little too gray I think the first one I put down may have been the eggplant but this is just a darker terry Ludwig and these are very soft so I'm keeping a soft touch so as not to fill up the tooth of the sandpaper and if you're very very new to this I mean why do we use sanded paper for pastels well if you put pastels on regular just flat drawing paper you can't get any layering because they they don't stick on top of each other the sandpaper allows for some tooth for the pastels to hold onto and it allows for layering of different colors so that's why sanded papers are the best types of surfaces to use with soft pastels oh another thing I wanted to point out to another reason why you keep a light touch and uh don't over layer or over muddy your your painting is because the more layers you put down the harder you press and the harder you rub you lose the brilliance of the pastel color it's like I was trying to remember something that I read I can't remember it's like crystals within the pastels but something that has this brilliance of color where the light just kind of reflects and the more you muddy that the more you blend the more you rub the more you layer the more you lose that and all of a sudden your colors become muddy if you've done this a little while and you may you probably have experienced when you're like man how did my painting get so so dull looking and it's because you've overworked it and trust me I have done that many times too so that's why learning to keep a a light touch and be a bit more purposeful with your strokes uh now there's a fine line between that because sometimes you want to be loose you want your strokes to be free but not so free that you have to correct and correct and correct and then before you know it you've lost that beauty of color that is really one of the beautiful benefits of pastel paintings um if you I often am able to do this I'm able to because I videotape my paintings I'm able to see points when I'm doing these voiceovers sometimes where I'm like oh man I I wish I had not overworked that area because I can see where I kind of lost some of the brilliance of color now I'm still at the very beginning stages of this one so um I'm still good now wouldn't want to overwork those trees that I just added the dark but really there's not a whole lot more to do to those I'm just going to add a couple more values of or colors of green I'm going to add a darker green and then a lighter green for some of the lighter leaves if you notice the trees are very dark but I I do want to kind of give some impression of some leaves on the trees and always we um we know or I talk a lot about how this is not about creating every branch every leaf leaf on the tree our brains kind of put that together um it's I think it's something called closure where your mind sees something even if it's not there if it resembles something oh and by the way I wanted to make mention a special special thank you to my patrons um I'll try to give you the short version I I started a Patreon page about it's been a month maybe but um per a lot of your suggestions you wanted to support me and I'm so grateful but I felt so bad that we had so many life challenges after that that I haven't been able to do much but bless your hearts so many of you actually I got more of you become my patrons after you knew of many of our challenges that are going on in life right now and God bless you that is just so beautiful to me um but I wanted to thank you because because of you I was able to buy a studio light I really really wanted and this video does not have that light it was be I created this before I got that light and I can tell such a difference now when I'm creating a video um then I did before I mean the light is so much better it makes the colors more like what it really is so thank you patrons for helping me and just so you know I am about to um move to be with my mom um during her battle with cancer and she is going to be having radiation it looks like so far hopefully no chemo and I'll be I'll probably be gone for at least at least two months but probably more like three months I'm going to take as many art supplies as I can with me she lives on a beautiful place and hopefully still be creating some videos so I ask that you do bear with me please stay subscribed to the youtube channel patrons I promise I will be bringing you guys some content as soon as we can get that battle overcome and accomplished and I am having faith that my mom will be cancer free and you can see here as I've been talking that I've been adding those cooler purples that I showed the pastel palette at the beginning and I really wanted to create that cooler um under painting mood or tone before I get to my green so you notice every color I've used so far has been on the cooler side of the color wheel cooler in color temperature and if you're not familiar with what that means warm versus cool colors I have on the youtube channel if you look up top above the videos you'll see um little tabs and one of them says videos and one says playlists and what playlists are are little files or like file folders or whatever that I can put videos of a certain category together and so if you click on playlist I think a video pops up but you'll see on the right all the different playlist somehow it works like that um I haven't looked at it in a while I just put them together so you'll see one playlist that has to do with color or color theory something like that um but in those you'll be able to see um a few videos where I go over the color wheel and talk about warm versus cool colors now in those background trees there I thought it was a little too light what I just put down I'm trying to get a cooler bluish green I don't want a warm green back there because what happens in the distance things cool off so I want to get duller cooler um lighter value tones back there so still still all on the cooler end but now I'm adding some of those coolers where the ground's a little bit lighter um are kind of in between those shadows a little bit um and what that's doing is kind of creating a color harmony um I actually do end up if you squint your eyes I have to end up darkening that foreground a little bit more it's a little bit too light compared to the background field there okay so now I'm creating color harmony by putting some of what's in the earth in the sky often the the sky and the ground play upon each other and you may not always see this in photographs or even with your real eye but as artists we can accentuate that and um and that's another thing you know the point of this video is how do you push color or or get a more dynamic color I wish I had the best word for it just more interesting color in your painting and that's one way to do it is by realizing um that we need to keep a color harmony in our painting and uh it it makes the painting more cohesive and just beautiful as a whole rather than segregating certain parts of it okay so now I believe I am choosing some of the more green I'm getting a little bit warmer you notice that's a more of a green than a blue and I apologize again for getting my head in the way let me see if I can get past this part here all right so now I'm I'm trying to make this footage to where I'm kind of avoiding my head so I'm sorry if it's chopping around a little bit so now I'm getting in a little bit more of my greens and I didn't really want to have a lot of tall grasses in this one I think I do at the end make some of them right at the entrance but for the most part I just want to draw the eye back through that field okay now as you can see I've got it's more of a green that I'm going to put on top of that purple the medium value purple that I put down before notice my strokes I'm not covering up all of that purple I'm just kind of glazing over it and making some some tree shapes you know not not over pressing this or overworking it and so that already too you can see now those really do look like they're kind of in the middle ground so while I have this pastel in my hand I'm looking at anywhere else that might have that similar value and remember how I said I knew I needed to darken that foreground a little bit to bring it forward to make it look more like it's it's closer to you and so this still staying in the cooler side of the color palette color wheel but that definitely brought that foreground forward you see how that happened just by putting that darker medium value I should say cooler green in the foreground okay here is where I'm the trees I have in the back there the when I put down that light value lavender or whatever it was they were they were a little too light so I needed to darken them up just a tad I think I do end up even blueing them out a little bit more but they were a little bit too pale they were there was not enough contrast yeah now I'm paling them out a little bit more there was not enough contrast between the trees and the sky that I know was going to be kind of light too so I wanted them to be a darker value than the sky because you can see that in the reference photo and also too in the reference photo you don't see the the really light far far trees like I am interpreting or or taking my artistic license I always like to try to make more distance if I can in a painting if I can peek a little place where there can be some trees real far away it just really creates more interest okay now is where I'm doing a little bit more vertical strokes I've got more of a it's a warmer green you see that warmer green going on top of I've already put down lavender I've put down a cooler green medium value green and now just that little bit of warm green there just really gave that feeling of grasses okay now continue to watch here while I build up the painting a little bit I am going to speed it up just a tad and I'm going to come back in for more commentary most likely when I get to the clouds all right enjoy I thought I'd add here that here is where I'm actually adding some of the lighter values they're not light they're still darker values but the the green values on top of the darkest purple values that I put down originally or whatever dark color that was but see how these are medium to dark greens I'm still keeping it a little cooler because remember at the beginning that was my interpretation of the photo is I'm pushing color towards the cooler end of the color wheel and I do end up warming it up a bit more at the end but but that that's exactly the license that you can take once you understand color and how the color wheel works and how color works together you can make your own interpretation of things so that's always really fun to do and we're not bound then by the photo okay see how I'm adding on the tips there or the where the sunlight may be kind of wrapping around a little bit you're getting some of the lighter greens on the tips of the branches or the leaves of the trees so now I'm just continuing to establish this and okay now I'm getting to the sky so what I'm doing here is I'm getting in kind of the the medium blue values right now in between the clouds and I had already gotten those purples down which again makes more of a cohesive painting to kind of play off those purples that are still kind of peeking through in the rest of the painting and so I'm just kind of building up the clouds again based on shapes and value that's all it is don't let clouds freak you out they're just shapes and value and now I'm getting a little bit of a lighter blue and if you look at the reference photo this is where usually in clouds the underside is a little bit darker it kind of depends on where the sun is of course but you know in this case sometimes clouds have a little bit of water in them and so that usually is reflected by the the value being a little bit darker underneath so that little bit of a darker blue that I have under that kind of emulates that or creates that feeling so again just looking at the value getting the lighter bluer it's not even a white that I'm using here and by the way I I keep meaning to do a video where color is and I think I have pointed this out in multiple video but color and value is dependent on what it's around if you have a light color or you just have a a medium value and you put a dark background around it it's going to look lighter if you put a light background around it it's going to look darker it's the same value but it how we interpret it in our minds depends on what's around it now I'm going to continue to paint here and put some music on I'm going to speed it up just a tad just so the video is not so long and I encourage you though to continue to watch the process I know the commentary is very helpful especially when you're new but it's also incredibly helpful just to watch and and and see the process and see how I layer things and also to I wanted to reiterate the point of this video is how we can take something a reference whether you're painting from a reference image or doing plein air painting out on location and how if you can learn some rules of color you can reinterpret the color palette to your own interpretation of it and that could have been done with this photo I decided to go to a cooler I don't know why I just felt that way maybe it was my mood or something but towards a cooler overall painting but I could have gone warmer too even though this photo has all this green and it's mostly just trees and grasses and I've done that in many videos before where I I punch up the color from the warm side of the color wheel and so those are the wonderful creative licenses you guys can have to be able to do that yourselves so it often how one of the thing I wanted to point out it helps though to have a plan at the very beginning look at it interpret it pull out your color wheel look at it and go what am I trying to say here what mood do I want to create and then make a plan and my plan started at the very beginning when I picked out those cooler color temperatures to be the kind of the base or the under painting of my of my final painting and so those things do help when you want to push color or reinterpret color to suit your own mood or your own creative concept of what you want to establish or represent so enjoy the rest of this process and I again want to thank you guys all so much for your patience on the youtube channel in the Monet Cafe art group facebook group and also my patrons my precious patrons who oh my goodness I just I know I go on and on about it but I am just so blessed and so humbled at your support and helping me out during this trial and again I'll be headed north north Florida anyway and getting lots of beautiful photography too I plan to take a lot of reference images I think I'm going to share some of those images with the patreon group and maybe while I'm out there create some little painting challenges for the patreon group to work from some of my reference photos so that sounds like a fun thing to do so I'll still be around pardon me if I'm not able to respond to so many comments and things like I tried to do and I just keep my mom in your prayers I feel very optimistic being a cancer survivor myself I kind of know the drill and some of the the yuckiness that goes along with these types of treatments and but I know my mom is strong not only in spirit but in her faith and I do do have lots of faith but still keep those prayers coming guys and I will keep praying for you I've had the wonderful opportunity to read and pray for many of you and some of the challenges that you're going through as well so god bless you all enjoy this painting and I can't wait to talk to you guys again and hopefully it will be soon all right guys so here's where I'm kind of wrapping it up and as you can see this is where I'm doing some of the grasses and by the way these grasses I'm doing with Giro Pastels G I R A U L T I think I got that right they're a French pastel company and I like them because they're medium to hard and probably not as hard as a Rembrandt but harder than most of the real softies and that makes it really great for doing line work or grasses like this so I do love them so if you haven't subscribed to the YouTube channel yet this channel I hope you'll do so you just hit that red subscribe button also feel free to find us on Facebook monnaie cafe art group follow me on Instagram you'll see all the details in a minute and if you'd like to become a patron on my patreon page you can see it there I promise I'll be bringing more content to that soon all right guys thanks so much happy happy painting