Well Titans fans may has come and gone. Did you happen to check out the Titans schedule? Well here it is. Here's the new Titans schedule for 2023. Now the Titans rookies have joined the Titans vets and they are all getting ready for the upcoming season. That's right. OTAs are upon us here at Ascension St. Thomas Sports Park. But it's not just all about football. The Titans are doing a ton of stuff off the field as well. Tim Shaw hosted his annual football camp here at Ascension St. Thomas Sports Park. The Titans teamed up with hands on Nashville to get some work done in the Nashville community. Hey Titans fans. Music City football. Out now. Go check it out.


Hi guys.  I don't know what else to say. Oh, yeah, yeah. So we're going to paint these flowers that I took photographs of at a birthday party. I was at this weekend. Hey, Lisa. And I was at the party and there were these beautiful blooms sitting in a pot next to me where I was sitting at the table. And so I started snapping pictures of them. And so we're going to paint these this week. And we're going to do them today with Dekawart Americana paints. And I am just looking for my colors that I want. Oh, there's I want some white. I want some purples, but this is the wrong color. I want this color. I really love the colors that are in these flowers. Hey, toy. So we're going to get out some yellow, a couple yellows. I've got some white. So I've got lemon yellow, cadmium yellow, white wash, purple pizazz, which I think is going to be a great color for these flowers because again, I love the color that's in here. I want to get out some paint gray and some orange. I think I'm going to use the Spiced Pumpkin. I'm really taking inspiration from the colors of these blooms because they're so beautiful. Now, I did take, hey, the real Myrtle, hey, I did take one of the pictures of these pictures that I took. And it's already on my website, jeanabearans.com. The link to my website should be in the description of the video. And go to the inspiration photos page. You can download the photo and use it for inspiration for your own artwork. And if you do that, I would love to see what you do with it. And then what I want, I think I want to use some, a little bit of blue. We're going to use a little bit of primary blue, probably some asphaltum, which is a funny name for a really pretty brown color. These are all, again, these are all Americana, DecoArt Americana acrylic paints. You don't have to have fancy paint to make art and have fun with it. Use what you have, use what you can afford. Don't break the budget going to buy fancy art supplies. Lindsay, the Frugal Crafter, had a post about that this weekend on her YouTube channel. There was a video where she has, aren't they pretty? There's a video where she was talking about a new watercolor palette. She got really just for the palette box and she talks about just using inexpensive supplies and what you can afford. I love the video. I love her idea behind the watercolor palette, but also her message is really great and it's very clear. So I do recommend you go to her channel and go look at that. I might want to add a little bit of gold. So we'll see. I don't know. We have, that's a lot of colors, but you know, that's like nine colors, but I like color. All right, so we're going to use these as our inspiration and I've got another kind of, what do I call these? Canvas failures. This is from 2013 and this is a small five by seven canvas. I kind of lost my way on this one. A couple of times because there's a couple of different paintings on here, but we're going to turn it into something real pretty this morning with these blooms.  They'll be kind of, you'll probably be able to see the bottom half of them on camera. You probably won't see the top half of them and I need to get a plate because you didn't hear that clanging sound. I do use ceramic and porcelain plates for mixing because they're easier to clean. And then I can get them really clean and use them for either watercolor or acrylic. And I'll have to have separate palettes. All right, I should have this on this side because I'm right handed. All right, so let's start with the Pains Gray. We're going to arrange them on our palette. It's sort of a rainbow color wheel sort of thing. So I'm going to start with my dark colors. Work my way to the lighter colors. That was the blue. Here's the purple. And then we're going to go with the orange. You can arrange your color, your plate, you know, how whatever way makes sense for you. This way usually makes sense for me. Some gold. And then our two yellow colors. This one's not even open yet. I did just get some brand new colors from DecoArt, both in the Americana paints and in the Faber paints. And this Cadmium yellow one is a new one that I just got. It's a nice creamy yellow. And then our other yellow, which is more chalky and more lemony. You can see the difference between the two. And then we're going to put white in the middle. Now I love the colors of these blooms, but maybe you take an inspiration photo of something, some other flowers that you like the shape and composition of, but you're not crazy about the color. You can paint them in any color that you want. I would recommend printing the photo in black and white. So you get the tonal value of the inspiration photo without getting distracted by the colors of the original blooms. All right, I got my brushes all damp. Let's see. We're going to start with the background because you all know I like to paint the background in and get that done so that after I get the blooms painted, I don't have to go back and touch up the background. I'm going to use my photos as inspiration for the painting. I'm not looking to copy them exactly, but I definitely want to get the feeling of the blooms on the canvas. So we're going to see how far we get there. I'm going to start with my darkest color and I'm going to not only paint the background, but I'm going to remember to get my edges and I'm going to, without cleaning the brush, I'm going to pick up some of the brown. I'm just, I want something kind of abstract and dark in the background so that the light blooms really show up. I want them to be the focus, not the background. Now remember with acrylic paint is the fabulous thing about acrylic paint over watercolor is that you can really just layer your colors on top of each other. So if you get, you know, something too dark or too light in the wrong spot, just let it dry and you can go right over it with more paint. With watercolor, you can't do that. So you can really start out really dark and then make your canvas lighter with the acrylic paint. So I'm just making sure primarily to get the edges and then we'll focus on the background. Get that done and not mess it up. All right, so now I want to actually take, I'm still using the dark colors, but I want to, I want to map in some flower shapes or at least the centers kind of put where I want to have my flowers be and see. The centers are really, really dark so I'm going to use this paint gray. We'll see if I decide to put one up here or not. Right now we're going to just do two. We'll see. I don't know. There's maybe this one down here. There's one kind of hiding back here. I don't know what kind of flowers these are. I have no idea. I was asked that on Facebook. Somebody said they look like a cone flower. I think that's what they said. I don't know. I don't know. All right, now we do want to have a light source in the background. So I'm going to take some of our paint gray and put it on here and then right on the canvas I'm going to make some white and mix it in. Again, we're working on the background. We're not, I'm going to, you know, take some of this color. I want my background to be abstract. I want it to be expressive. I don't want it to be anything else. And if some of the original background shows, I'm okay with that. Probably when I'm done, not too much of it's going to show.  I agree with Lisa. They look like they're in the Daisy family. I'm going to take a little bit of the lightest yellow. Just a little bit. Again, we're just working on our background. Having some fun. That was a little bit of the orange. Helpful Potato. Hello. Some of your names on YouTube are hilarious. The Helpful Potato. And that, you might have a great reason for that, but I do have to say it makes me smile and I like that. All right, that's pretty good. That's a pretty good start. We're going to put the large filbert brush away. And what am I going to start with now? I think we're going to dry it. I really want to dry this. I don't want to get the yellow too muddy. So let's give this a quick dry. Be careful when you're doing this with acrylic paints because it's basically plastic.  Now we're going to go with a smaller filbert brush. And I love the filbert for flower petals. I'm going to use my darker yellow and hopefully do this without messing up. I'm going to start out at the end of the petal and pull it in towards that dark center. I paint it and lift it up as I do. Now really look at your inspiration photo because not all your petals are going to be facing the same way. Not all of them are going to be shaped the same. So you might need to turn your brush to get some interesting petals that resemble what's going on in your inspiration photo. But we just want to get it kind of mapped out now. And these will be longer down here than the ones back here in the photo or shorter. The yellows are pretty transparent so you generally have to put a few layers of paint down and some white. I'm doing the back flower first. Yes, he's actually fine. He is old. He needed to have this morning I took him to the vet to get some blood work and stuff done. He's going to be getting his teeth cleaned in that and because he's old and cranky they're going to anesthetize him. So that means that he has to have blood work to make sure that everything's okay before they put him under.  Now it's going to blend a little bit with the yellow where the yellow has kind of dried. It won't so much. That's okay. This is just a first layer. We're not married to this layer.  He's not too, he's never too happy about that but you know and I can't lift him up and get him into the back trunk area of the car anymore. He's too heavy for me so I had him in the back seat but he seemed to like that better I think anyways. So now I'm going to go into the tips with our yellow and again you know I'm not a realist painter so I'm not looking for an exact copy of the photo. I do want to get that impression of the photo and I'll know for myself when I've got something that's making me happy. I just want to give you guys some ideas of what you can do. Oops that was the wrong color. They are very important. He's a member of the family so they're going to clean his teeth and they're going to clip his toenails and all of that stuff. They're going to put him under. It's less stressful for him so this is the lighter yellow. Now remember as you're doing this that you know flower petals are not perfect and if you are working from my inspiration photo or yours if you look at the flower petals they are not perfectly round on the end so as you're adding your layers of colors to your petals you might want to think about making the edges less perfect and more suggestive. It'll give you a little bit more of hinting at that real flower and all these different colors are just going to add more interesting layers to your flower. Yeah safer way safer for the vet. He likes them but yeah way safer for the vet. He does not like having his toenails clipped. He is not one of these dogs like my mom's dogs that will just sit there and let you clip his toenails. That's never been banded. He's not okay with that and you know they're also going to clean his teeth so that's not going to go for very well. Okay so now I'm going to let that dry for a minute and I'm going to work on the flower center. This is a stippling brush. Low low Cornell stippling brush. Little short stiff bristles. This is a quarter inch stippler and I generally have to order these from somewhere because I don't usually see these at the art store. Somebody may carry them. I haven't figured out who it is yet but my places near me don't have them. I'm going to start with the blue and I'm going to just do this just tap tap tap tap and I'm going to wipe it off and this is canvas that I use to make journal covers and stuff with so I'm just going to wipe my brush off on here then I'm going to go in with the brown tap tap. The brown and blue will mix a little bit which is okay. I'm not going to hit it on all the same spot so it won't all mix. That's actually what I want.  I was almost late today. It was Donna's fault. We were chatting. Blame it on Donna.  I better clean it a little better because the yellow and purple will make brown. I don't want brown. Okay so here's some of the more of the purple. Pull it up into the yellow petals. Don't forget to if you need to get the baby wipes out. Baby wipes are great for blending, removing paint, pushing it around on your canvas and that's I love that so you got the baby wipe out. Yeah use it later for a journal cover. I've made tote bags out of them. Pencil bags. All kinds of stuff. I do have a cutting mat on the table. A good one but okay hang on guys. We've got to text the husband because he doesn't know that I picked the dog up so hold on. Okay so we'll tell him he's fine and I'm live on YouTube. Talk to you later. All right so that's doing pretty good. I want to let that dry a little bit. Before I do though I want to take some of my orange. They're these little orange like I don't know they're like seed heads or something in these flowers. So we're going to take this little tiny brush and we're going to just tap some of the orange in here. Now this may not be completely done. I'm probably going to come back in here with some more colors before we're done but look at that pop you get in there and this is acrylic paint so it's all about layers of more interesting marks. Don't treat anything too preciously. That is so pretty. Okay let's do this one. Should we do this one? Wait I want to lost track of my brushes here. Let's use this one. This one yeah this one. I want to do this here let's see. So that's the white and some of the yellow. So when you have a painting like this when you have flowers layered over the top of each other it's really helpful to start with a flower that's farthest in the back and then work your way forward. You really want to get this late this flower almost perfect because parts of this flower are going to overlap that one. I think that's how I'm going to paint it. So if that's the case then this one needs to be perfect so that I don't have to go back and touch anything up. I will tell you guys that I appreciate all of you. There is somebody or a couple somebodies here on the channel that seems to not like any of my live broadcasts. I'm not sure what's up with that. There's a couple of somebodies that give all the live broadcasts a thumbs down and that's fine. As my channel grows I just have to get used to that. I'm here to share my love of art with you all so not but not everybody's going to like that and that's fine. But it is kind of funny. I just expect now all the live broadcasts to get one or two thumbs down because there's somebody out there on my channel that just does not like them and that vibrating was my husband texting me pack okay good. He had to make make himself a note this morning to not feed the dog because we couldn't feed him before he had to go get his test done. You know like the rest of us when you have blood work and stuff done you have to fast and look at the more layers we put on this flower. Look how much it's coming alive. Okay we're going to go with the darker yellow pulled it in too much. Yeah it's just these kind of paintings are don't take long and you get really start to get the idea and the impression of that flower that expressive picture of that flower that you want. It doesn't really take much. Hey Ian how are you? I am going to start paying attention in my photo to where the you know darker sections of the petals are and I think I'm going to take some of this darker yellow and I'm going to mix it with a little bit of the orange. I want a darker golden orangey kind of color. I'm going to use this for my shadow color the petals and to add some extra layer of petals in between that are darker. If I forget to talk you guys need to just start I don't know texting me. We need a buzzer on the YouTube live thing. I start painting and I'm here by myself. I don't I have anybody helping me with comments or anything. I invite Envy some people like Cinnamon Cooney who go live and you know her husband helps her in that because that would be handy. All right we're going to make some brown in here because I want to stick it in here. There is always some crazy people out there isn't there Lisa. So spoiled apples are like soiled apples. I like that. I'm going to do this because this is this part's bothering me. I probably should have put a bigger darker background on here. Yep you do see gold paint on there. I haven't gotten to the gold yet. We will be though. I like the Americana gold paint. Okay that's not bad. I'm going to take some of the yellow and some of the blue and make some green. Now we are using craft paints basically Americana acrylic paints or craft paints. They don't blend the same way artist paints do. That doesn't mean you can't use them. That doesn't mean that you can't make them work. So they they just blend differently. So it might be more challenging for you to get the color that you're looking for. It's probably one of the reasons they make so many colors so you don't have to do any blending. Soiled works too Lisa. So these are flowers and there was some greenery and inspiration photos and again for those of you just joining us these were taken at a birthday party I was at this weekend and the at least one of the copies of the photos that I took are available for you to download and use in your artwork from my website GinaBEArens.com and feel free to go over there and download any of the inspiration photos from the inspiration photos page and use them with my blessing. I would love to see what you do with them whether you paint with them or something else that would be fabulous. Okay I think we're gonna leave that for right now and we're gonna work on the other flower for a minute. I have to decide if I want this one to be under that one or above that one. If I want it to be under I should have done this one first. See nobody's perfect we all screw up but I could fix it. Let's do white first this time and really push down on the filbert and then as we bring it up towards the flower center lift and you get this interesting petal shape. It is isn't it? Okay I'm gonna go a little bit apart on them to start at least.  Every painting has an ugly duckling stage all of them do almost every artist that you talk to will admit that it does and you just have to keep working through it and adding your layers and marks until you get something that's really beautiful. All those other layers underneath are gonna give your picture some depth and character and create help you create something that's really interesting. I'm gonna wrap some of my petals around the edge of the canvas.  Exactly the real myrtle everything that you know in art has some kind of ugly duckling stage so now I'm going to go with my lightest yellow and I'm going to again start at the tip and I'm going to drag it towards the flower center but not all the way down. This time I started with the white because now we have an opaque background for our yellows. There's no neither way is wrong just work with whatever way you think is going to work for you. This is a filbert brush this is a snap number eight filbert. I got these at Aaron brothers art supply art and framing I should say which is a subsidiary of Michaels arts and crafts and I got them when they were I think they were either buy one get one free or buy two get one free. Hey Cody doll hey I'm gonna go into our darker yellow now and just like at the tips of the petals and pull it down just a bit. I like the filbert because I like a I prefer a flat brush most of the time when I'm painting with acrylic paint and the filbert has a nice rounded edge. It gives you a nice mark. Okay we're gonna dry that a little bit. Okay now we're gonna come in again we're gonna go in with the white in between the two. Now remember that in nature like I said before flower nothing is straight and even things are wonky. So you know you probably don't want your flower petal edges to be perfect because they'll look more real if they're not. I have and I actually have them in my watercolor collection of brushes. They are an interesting brush and Ian and I need more help with them or not help practice. I need more help with a lot of things but I need probably more practice with them but I do like them I was very intrigued by them so when I was buying some new watercolor brushes I bought them and I think I bought the Princeton Neptune ones. They're very interesting brushes so I'm just giving these in between petals a quick coat of white of course you know that's not our final layer now we're going to go in with a yellow from the edge and pull it down and as I'm putting the yellow in I'm trying on purpose to oops that was a wrong color to um have a little bit of a rounded edge but not have to be too perfect. I almost did it again wrong color. Don't be afraid to do this if you want to buy some Americana Decorat Americana paints or any of the other deco art products they're readily available at most of your big box craft stores and art stores and you can also go to decorat.com. When I started back to painting I started with craft paint that's what I could afford. I just save up to get my other paints. Well that's a good use for it. Ian, sign writing. Okay so now we're going to go in with our darker yellow and while we're doing this I may come into some of these in between petals and just add a little something. Decorat's pretty well known I think worldwide brand and they make decent supplies especially for those of us who really just want to make art and play and don't have you know a ton of money in the bank to spend on art supplies. So now I'm going to go in with my orange and again I think I'm going to take a blob of this and mix it with the yellow and just lighten it up a bit. Decorat this is Decorat Americana craft paint. Okay so now I'm going to try to figure out which petals I want to be in the forefront. I'm going to actually start here so I'm going to darken the petal. I should really be doing this with a smaller brush. Okay we're going to use this little tiny brush so I'm going to put some paint on there and I'm going to darken the petal that's in the back and I put some paint on there but that might be too much too much too much. So when we have a baby wipe there we go. So you can define your petal shapes a little bit. I mean depending do this you know do as much of this as you feel like you need to to suggest you know your painting and what you want your painting to say. I'm putting some paint on there. I'm giving it suggestive lines. I'm also smudging them with my fingers and I am going to make sure my baby wipe is handy and available. Should I get some in a place where I don't want it? Try to use the paint up that's on the filbert brush. Okay now this little brush that I have in my hand is from a set of small tiny brushes from the model department at Hobby Lobby. You know that department where they have the model cars and stuff. I was there getting some stuff for my husband who is my husband for him. He likes to do model cars and things and he needed some brushes and I saw these and was like ooh I wonder how those would work with acrylic paint and you know what they were great when they were super affordable. It is opaque. It's a craft paint Ian so you know they're not pigmented the same as your artist paints they're just they're just not. So yes it's opaque but like your colors that would naturally be more translucent like your yellows just because of that pigment are even more so in the craft paint and they don't always blend the same so this may be a little too dark in some places but that's okay. It's just another layer. I can still kind of see where my definitions are of my petals so before I lose them too much and some of this up here might get lost because I think I'm going to bring this flower back. That's okay. All right so now I'm going to go into the yellows and the darker of the yellow. We're going to go basically over some of the same places that we put the orange. Yeah really look outside the box for your brushes you know look in some of those other departments. I know what you're thinking oh my god you just made those all darker now you're going to make them lighter. Yes yes yes layers of color layers of color and one of the reasons I'm using this lighter brush is I'm not covering up all of the darkness that I put on there and I'm not even trying to blend it. I'm really just putting streaky lines in there suggestive of the flowers in the picture in nature turning the canvas turning the canvas gives me a different perspective and also makes insurers that I don't get my hand stuck in the wet paint. Yeah see I and these were really inexpensive. I think they were the set of them was like five dollars for five brushes or something. It was pretty good deal I thought. All right so now I'm going to go back to the filbert here and we're going to stick with that take some of the white and a little bit of the yellow just make it a little bit a little bit off white just make it so it's not quite so starkly white. I don't I don't paint models my husband uses enamels. I don't I don't I don't do that tedium and me do not get along so I'm going to just do this a little bit because there is some lightness to part of the flower center so I want to just add we're going to be working on this some more but that's starting to pop out very nicely. I love decor paint. All right so now we're going to before we do the center I want to take a little bit of our purple I don't want too much and I'm going to lightly lightly lightly touch my brush to the canvas very lightly and started the center and pull the purple up I love the combination in the real flowers and the inspiration photo of the yellow and the purple it was just such a pretty combination. My husband just recently got back in a model painting after taking a break from it for a long time so I need more questions than that you really have to ask him because I don't know I don't paint miniatures I don't have the patience for it to be honest with you so I'm just kind of using the edge of my brush to really pull a few pieces of the purple up into the petals and I'll set leaves you guys would have gotten the idea. All right I'm going to go to my stippling brush stippling. All right we are going to start with blue. The paint's gray a little bit of the asphalt tone with brown. I'm just tapping it onto the canvas with the stippling brush. I'm going to go in with that little tiny brush it's from the model painting department and I'm going to start with the orange. There's a few dots of orange in this flower center of in one of the inspirations of those. Exactly I love you know nature is a fabulous inspiration if you get you know stuck on you know what color to use on a on a project go outside and take a walk because nature is fabulous for that.  It's a great thing about acrylic paint you can just layer it on top of each other so don't we um need to dry it again I think let's see I want to get that I want to get it pretty good. Let's see um let's take some of our brown yeah if any of you if I am having help with the miniatures painting and any of you guys can help him please do so I don't paint miniatures I have absolutely no patience for that um people who know me in real life just laugh at that because they know it's totally true so before we fix this mess here because we do need to fix that I do think I want to come in here now while I'm not going to treat any parts of my painting as more precious than the other um and if I get paint on something that's fine it's acrylic paint so like I said you can bring it back with um by just putting more layers but I do think I want to put um there's a hint of another flower here I like things in uh groups of three I think they're more interesting so I think that we're gonna like it's peeking out from behind no I haven't um I have done alcohol ink on ceramic tiles I've painted on rocks does that count with this paint and it it's it's fabulous on that I have a brother-in-law who does miniature painting too so I painted on rocks I in um with this paint and it was great it worked fabulously just same kind of layers and you know if you're doing this I would start with this flower and then this flower and then that flower I did it totally backwards so anyway live and learn we're going to be trying to paint the same um inspiration photo in watercolor on Wednesday I think so we'll see how it goes I enjoyed painting on rocks so I could see me painting on a piece of slate at some point because the rocks were pretty fun it would just depend on if I could get them for you know cheap or free to be honest so now I'm going to come back in with a little bit of the white from the other direction just a little bit and then um our orangy mixture here dried up so we're going to make some more and first I'm going to darken the edges of the petals the edges are pretty I've got some of the petals wrapping around the canvas that just makes it interesting so if you really want to learn how to do interesting expressive florals think about taking one of Pauline Agnew's classes but I think she has one that's just on florals I haven't taken it yet but it's on my bucket list back in with one of the yellows okay that's pretty good now we're going to um come in with the purple really have this in here we're going to start at the center again and pull it out now this one's really hiding behind the other flower so there's not a lot of the flower center showing that would be cool Donna thank you Donna has some really cool flowers that near her that she thought would be really interesting paintings too much paint right there that's better okay so where's our stippling brush let's do a little bit of stippling because if nothing else I think I want the texture in there and we're gonna just put a little bit out of here not too light because like I said this flower center is in the back it's pretty dark in the inspiration photo so I actually don't want to lighten it up too much oh cool thanks Ian you know that's one of the reasons I started the inspiration um photo page on my website was so we could all share inspiration photos because you know it's we all want to paint we all want to play we all want to experiment and maybe at some point we want to sell said piece of artwork and finding sites that will let you use the photo is really tough yeah it really made it pop start to pop off right okay so but we're not done we're not done I am going to although this is really dark in the picture there are a couple of um highlight spots and I'm going to add them with the orange and then I'm going to go with a little bit of the gold not too much I don't want to do too much okay so now I want to come back in before we do this again we're going to do this one last for it we've got to fix that um so we're going to come in here and we're going to let's dry this so acrylic paint uh craft paint usually drives pretty quickly so I just really want to take the shine off of it when I do that so I want to just come in here and redefine some of these pedals that we you might have lost or you might have started to you know mess up the edges when you did that back flower make them pop out again um by going in and touching them up a bit and I love really working with colors like yellow because they're very sheer and you can you can put them on here and still see all the other colors and layers in between I kind of like that so Ian you can either post them in the Facebook group and create an album for yourself in the Facebook group or if you want to send them to me with your permission and I can put them on my website either way the easiest way is to do it in the Facebook group I'm going to take a little bit of our brown and a little bit of our purple and mix them together and we're going to just put a little bit of a shadow here and then a little bit of paint and then I'm going to come in with my baby wipe very lightly and just rub it back there we go perfecto I've got to decide what I'm going to do with that one I want to do something over here first let's see first first I'm going to mix our blue and our purple together I think you are in the group Ian um and a life of art and self-expression again the link should be in the description below for those of you who aren't members and you can create a photo album for yourself and put a note on the photo album that these pictures are okay and for anybody to use for art um I think that's wonderful if we can share things like that see that's it's looking good all right I'm going to bring back some of our orange dots though that's so good okay sorry I'm getting distracted all right so now we have to I'm really happy with this I'm I'm pretty happy with this we need to do something about this flower um so let's work on that uh let's first do pedals so I think I do think that I'm going to get a lot of white I know what you're all like cringing over there I can I don't even have to look at the chat to hear the cringing I have to be right there I can hear it now when you have an inspiration photo you could do something completely abstract and you could really be inspired by the colors and feeling you get from the inspiration photo and create something completely abstract that looks nothing photo so that's another way to take some of these photos that would be a lot of fun and you really should look forward to me doing that at some point in the future because I don't do abstracts enough and I really enjoy doing them and this always makes me really happy this palette plate because that always when it starts to get messy like that I always think oh wow they having fun with their paint okay so now I'm going to go into the darker yellow oh not right there holy cow darker yellow did I say darker yellow going to make some of our lighter orangey color oh hey Karen I'm glad you're enjoying it I think live streaming is a lot of fun um I sometimes get caught up in what I'm painting and forget to talk too much but um I like to watch live streams and or listen to them if they're um you know ones were somebody's actually remembering to talk while they're arting which wouldn't be me because I forget a lot so I'm just adding our our layers of yellows uh whites and oranges to the petals to really make them pop being conscientious of the fact that I want this flower to look like it's behind that one so this one's either got to be darker or this one's got to be lighter um and I think we're going to darken up some of this one back here I think we're going to put a little bit of a shadow so your edges of your petals would be darker the petals that are um on top would be lighter the ones underneath would be darker so you know just go around your painting and make sure you get all your shadows and highlights kind of in the right place oh sorry the real Myrtle sorry I had a teenage girl I didn't have boys so good luck with it whatever it is and like I've said a million times acrylic paint is much more forgiving than watercolor you really can if you make a mistake and get the wrong color in the right wrong place just you know give it a minute let it dry and go back in there with another color it's not a big deal layer your colors on top of each other that was the wrong color and um just keep playing until you get a composition that you're really happy with that's actually not bad um okay so now we're gonna hopefully make it pop I'm gonna clean off the yellow and we are going to go into our purple and we're gonna pull it from the center out um I'm going to there's a little bit too much purple there that's all right okay we're gonna mix some of our blue and purple together again make sort of a darker purpleish blue color again I think this is purple pizzazz and primary blue for those that want to know I'm going to take this darker purple color and I'm going to put it in the center and again I'm going to pull it out I'm not looking to cover up all of that first purple I'm just looking to give it some depth you like this color on here so I think we're going to take a little bit of it and put it down here over here and that really made the centers here pop get a little bit in a place I don't want it so we're gonna rather than putting another layer paint I'm going to just take in the baby wipe all right wipe off the excess paint on my canvas here that's looking pretty good we're gonna get in here with the stippling brush and start with I think that paint's gray now this one because it's in the photo it's kind of lying farther tilted away from the camera is more of an oval than it is round so we want to make sure we kind of emphasize that I'm going to take some of my white and mix it with the paint's gray get a lighter color maybe drag in some of our dark purple and looking at the photo and just using just by tapping my stippling brush because I want that kind of texture in the paint color I'm going to give the flower center some highlights and kind of continue to try to emphasize that sort of oblong shape that we have that's looking pretty good so we're going to go into our little um small brush let's see what are the paints like for drying time they actually dry very quickly so if you're not okay with that then you might want to add some extender to the paint they do deco art does make an extender but they do drive pretty quickly okay that's the orange we're going to go in with some of the gold I'm going to go down here and fix this one a little bit just getting some paint on the brush and I'm just tapping it on the canvas making little dotted marks that I'm going in and I'm not cleaning it off super well more than wiping it on my drop cloth here and picking up the gold yeah they dry pretty quickly I wouldn't I think they dry a little bit faster than a normal acrylic um all the america americana paints in my opinion do you know you're having a body artist acrylics dry a little slower than these do but I kind of like that they dry fast if you don't like that then you could add like I said add the extender to it and that would really aid in the um extension of how the drying time for you because not everybody's going to like that they dry quickly when some of your heavy heavy body paints really take a long time to dry I'm gonna take a little bit of my yellow and pull it over here into the white and we're going to stick with this little small brush for a minute and I just want to kind of do this and look at how that makes those petals pop I'm not going to blend out those brush marks I'm going to let them be suggestive the way they are this is a great color because it's really light and almost white but not white so it's going to really give you something interesting if you lose sight of where your highlights should be or you know where your suggestions of petals you notice I'm suggesting I don't know maybe you guys can't notice I'll I'll zoom in in a minute here but um I'm suggesting edges of the petals that actually aren't even there and I'm not going to make them be there it's it's really um we can kind of see it right there oh dawn welcome well welcome and you know I'll be painting this a couple times um I really love if nothing else the color of these flowers and I was saying earlier in the broadcast since you just woke up that you know this is the kind of photo that you could totally take and use as inspiration just because of the colors of the petals you know you don't even have to actually try and paint the flowers use the photo as color inspiration because man aren't those colors just fabulous I went on Wednesday we're going to do it in watercolor I'm going to do it a few times I'm sure um just because this the picture intrigues me and the colors um do too so yeah I will probably definite most definitely be doing this a few times and this broadcast will be on YouTube it takes a few minutes for it to load but it will be on YouTube so um if you've missed all or part of it um just wait a little bit and it'll be on YouTube all the paints are from DecoArt of course it's muddy with DecoArt hey Josie um I Ian yes sometimes I do use paint my photo um when I want to paint something that there's no way on the planet that I can find a way to take a picture of it myself um such as I want to do a watercolor elephant um so I live in California uh you know I don't know where I'm going to find an elephant so I would go to paint my photo I do try to use my own photos wherever I can now I did pull some of the petals around to the edges of the canvas so I am you know putting these little highlights in and I want to make sure I do it on the edges of the flower petals as well as the foreground on the front of the canvas you know I want it to look like it's intentional I I saw a couple more questions there so hang on a second guys I'm going to come back in with um okay let's see um so yeah so it has to it must have something to do with the pigment most of your watercolors your better watercolors are made with natural pigments and not dyes and I bet you that a lot of your um especially the craft paints are probably dyes so the dyes are probably more transparent than the pigments um craft paints are really transparent but a lot of yellows are very transparent especially in acrylic paint even golden yellows so you really need to start with like a white base to get that to have the yellow really cover I am using Hangout Ian and and by the way core K welcome I'm not one that's really big on um chemistry and the chemistry of paint and when I try to learn it I fall asleep um just FYI uh so you know but um there are other artists out there that know a lot more about it than I do Cinnamon Cooney is one of them but it's got to have something to do with um whatever they've used to color the to color the paint and I would guess that it's probably something that's more dye based you're welcome I you know if I don't know the answer I'm going to tell you guys I don't know the answer I won't try and fake it I don't do that so um and there's lots of answers I don't know one of the reasons I started my channel was to share my adventures with art and also get ideas from all of you and those that are more experienced than me so I don't know everything and if I did know it I probably forgot it because you know that's what I do all right let's see I'm just I'm just adding these like suggestive lines to the flowers I'm really liking them so I'm so I'm doing them I'm really liking this painting it's almost done I does anybody have any other questions yes I'm taking some of the purple paint here very light touch and pulling out some lines from the center of the petals not everywhere just in a few spots these little touches make your painting pop so so if you guys have any inspiration photos that you would love to share with our little art family and let people paint from them be inspired by them create works they keep or for sale from them if you are okay with them using them royalty free then by all means create create yourself some photo albums over in my facebook group I think that's the easiest way to do it and you know put a note on the photo album that they're these are free for people to use and be inspired by so that they know that they have your permission that they're royalty free and you know let's do what we can to share paint my photo is fabulous if you don't want to do that and you or you have no pictures paint my photo which is what Ian said PMP is called paint my photo if you google it you'll find the website and it is the fabulous place to get royalty free photos um that you can paint from see what is this this is a 557 inch canvas in it's just a little one that I had had a painting failure on it you know we all have a stash if we've done art we have a stash of painting failures right we all have a stash somewhere I've got a larger stash probably than most because you know I you know had no problem with experimenting on big canvas is when I was first starting out and did not know what I was doing so now I have a stash of them that has to have something done with it at some point I thought I'd start with the little ones because they're less intimidating um to show on camera what do I mean by that I know somebody's gonna ask me so some of my big ones are really ugly so I you know at some point I'm gonna do those on camera and we're gonna do them live and we're gonna I'm gonna show them and we're gonna paint over them and some of those big ones maybe a two-session thing because they're really big but we'll be doing them on camera I have lots of painting failures I love this I'm gonna stop touching it because I love the way it looks I'm going to move the wet paint so this these are the photos that we were being inspired by this is as you guys know this is as realistic as I ever get and I love that you definitely could use the inspiration photo you know like I said if you just took the feeling and colors that you get when you look at this photo and did an abstract piece from it that would be fabulous and I will be trying that at some point um when I know this is completely dry I will probably stop go to my PO box have some lunch and all of that then I'll come back it'll be by then it'll be completely dry I'll be sure even the thickest parts will be dry and I'll be giving it a nice coat of um deco page and I will probably use the antique I like using the antique one because it has a little bit of a tint in it and let me find it for you let's see here we go this and then I give it a coat I let this dry this is slightly tinted just off it's got a little bit of a like antique color to it a little bit it's a little bit creamy colored it still dries very clear and translucent so I will um give it a coat of this let it dry completely and this is like any other deco page glue or sealant if it's in the right environment it will get sticky right we don't want that so after this is dry I will give the whole thing a nice coat of americana decor cream wax let this dry this dries really hard um and it um doesn't reactivate so it'll these two things will protect the finish on the canvas um I will also make sure to redate the back because it says 2013 and on um so I'm going to leave those out because I'm going to need them later on Wednesday for watercolor Wednesday we will be doing these in watercolor we'll be doing some more experimenting I'm really looking forward to that that's going to be a lot of fun I do want to going forward for Monday with deco art I want to break at some point we're going to break out one of my big canvases and we're going to actually do a face and we will probably do it in stages we'll be using americana decor paints and probably the deco art artist traditions paints and maybe some of their fluid acrylics all deco art paints on a big canvas and we will also be painting a piece of furniture at some point because I have to do that too and I've got some chalk some of their chalk paint to do that so all those fun things to look forward to I also have an elephant I want to do in watercolor I've got some on if you're in the watercolor world of world of watercolor facebook group you saw that somebody over the weekend posted some watercolor experiments of where they did water droplets in watercolor and I'd seen that before and then I forgot about it and you know we're going to we're going to work on that I think it would be a fun practice exercise we're going to do water droplets in watercolor and we may do them in acrylic paint too because they're different wash works all right I will see you all on Wednesday those of you who want to be here otherwise I'll see you next Monday thank you for joining me with Monday with deco art live I hope you have some fun paintings of flowers don't feel like you have to buy expensive paints Americana Acra paints by deco art work just fine and again these are purple pizzazz primary blue whitewash asphaltum which is a really pretty bluish brown color paints gray spiced pumpkin I can put them up this way then you guys can see the tops well except for this one that's all smudged up glorious gold cadmium yellow and lemon yellow these are the colors we use today all right I will see you all later have some fun create some art and don't forget the most important thing y'all know what that is right go out yourself and maybe somebody else because you deserve it and they probably do too all right make some art create some pretty things share in the facebook group I'd love to see it there feel free to leave a comment question or concern here or in the facebook group if it's in the facebook group tag me in the post because that way you can it be assured I'll see it otherwise it's possible it gets missed the group is growing so I do miss things all right I'll talk to you all later have a great afternoon if you're on the west coast if you're pretty much anywhere else in the world I have a good evening and I will see you on Wednesday bye guys


Hello, everyone. I'm Alex Beanstalk, and I'll be presenting our work, Forward Secret Encrypted RAM, Lower Bounds and Applications, and this is joint work with Yevgeny Dodis and Kevin Yeo. Okay, so what is Forward Secret Encrypted RAM, or FSE RAM as we call it? Well, I was extensively studied for a long time, and the goal was to privately and forward secretly outsource the storage of a large data array using small client storage. Okay, and the adversarial model is that the adversary always sees the server storage, and also we want forward secrecy, meaning that the adversary can leak the client storage, and in this case, of course, everything that is currently stored in the RAM is no longer secure, but we want everything that has since been deleted or overwritten to be secure. Okay, and we also want efficient reads and writes, and for this work, we'll assume a static number of entries n. Okay, and of course, we want to use practical, namely symmetric crypto. Okay, so what's the trivial solution? Well, let's say we have these eight data items making up our data array. What we'll do is we'll just encrypt every entry with a single key. Okay, so we have this key K in our local client storage, and on the server, we have the encryption of each data item under this key K. Okay, but for security, then we need to refresh the key after each write. Okay, but of course, then this isn't efficient, because we will need to re-encrypt everything. Okay, so there's also a folklore solution that's a tree-based scheme, and this is how it works. And the client side, we again have one key K epsilon, and it's the root of this tree, and it encrypts its two children K0 and K1, and we store these cipher texts on the server. Then each of K0 and K1 encrypt their children, and at the end, we have the leaves are encryptions of the eight data items under their parents. Okay, so how do we read? Well, let's say we want to read the fourth data item, then we take K epsilon, decrypt K0, then using K0, decrypt K01, and finally decrypt D4. Okay, so this was a log-in overhead, as you may have realized. Okay, how do we write to a cell? Well, let's say we want to write to cell four, new data D4 prime, then what we'll do is, in addition to decrypting the direct path to the fourth cell, like we did for reads, we'll also decrypt the copath. Okay, so in addition to decrypting K0, we'll also decrypt K1, in addition to decrypting K01, we'll also decrypt K00, and in addition to, well, we actually won't decrypt D4, we'll just sort of get rid of it, and decrypt D3, and we're left with D3 K1 K00, we'll just forget about everything else, and we'll generate a new key, K01 prime, for the parent of D3, and also encrypt D3 and this new data D4 prime under K01 prime. Okay, then we'll generate a new key at the parent of K01 prime, encrypt both of its children, and finally generate a new K epsilon prime and encrypt both of its children. Okay, and so you'll notice now we have forward secrecy because all information about D4 is gone now. Okay, so even if the adversary corrupts K epsilon prime, well, K epsilon prime and everything that we can decrypt with it is totally independent of D4 or anything that could have previously decrypted D4. Okay, so what was the efficiency of this scheme? Well, we had a big O of one client storage, big O of N, sorry, that should be server storage, and big O of log N overhead for reads and writes. Okay, but we can also further extend this to have big O of S client storage, you know, for some S that's not too big, still sublinear, big O of N server storage again, and big O of log N overhead. And this is done by just creating S different trees and storing in each tree and over S of the data items. Okay, now the main question that we have in this work is, is this scheme optimal? And maybe surprisingly, this has been unknown for two plus decades. And in fact, in our work, we answer that yes, this is the optimal scheme. Okay, so for the rest of the talk, first, I'll give you some intuition for the lower bound that we prove. And I'll talk about the model in which we prove it, which is called the symbolic model, and give you the proof intuition in this model. Okay, then I'll give some applications of FS ERM where we sort of circumvent the lower bound. Okay, and these applications are forward secret memory checkers, oblivious forward secret encrypted RAM, and forward secret multicast encryption. Okay, so first, let me present to you the model. Before I do that, I just want to mention that the cell probe model is considered the holy grail for private data structure lower bounds. Okay, but in this case, it turned out to be too powerful. Okay, so the cell probe model only counts cell probes towards the cost of the protocol itself. So not any other computation, just how many server cells that you touch. Okay, but on the other hand, it still requires any adversary attacking the protocol to be PPT. So in fact, there is a trivial, big O of one cell probe solution. And this is done using authenticated, sorry, authenticated encryption. And the scheme, unfortunately, for the upper bound will not be PPT itself. But basically, what we'll do is when we go to do a new write, we'll just choose a random authentic authenticated encryption key and encrypt the data under this key, sort the encryption on the server and just forget the key. Okay, now any PPT adversary clearly can't break this scheme. But when the protocol goes to read a data item, it'll just try all authenticated encryption keys, which it can do because it has unbounded computation and only needs to download or probe the single cell with the data item. And it'll just try all these keys until it succeeds. Okay, so here we've shown that the basic cell probe model is too strong. And what about other models? Well, there's also the balls and bins model that has been used to prove some private data structure lower bounds. But in this case, it's actually too weak. And this is because in this model, server cells can only hold encrypted array contents and nothing else. Okay, so, namely, even the folklore construction for FS ERM is not captured in this model. Okay, this is because we have encryptions of keys on the server as well. So the model that we do use in the end is called the symbolic model. And it's been used recently in other works as well. And it's actually the perfect in between of these two models that I mentioned before. Okay, so what is a symbolic model? Well, in the symbolic model, server cells hold strings that are arbitrarily derived from some structured grammar. Okay, and so in our work, we allow for encryption and possibly dual PRF keys, which are basically just random coins, also cipher texts from this encryption scheme, secret shares, and data entries themselves. Now note that strings can be arbitrarily nested combinations of the above. So here's our grammar. Yeah, it encompasses all the things I said before. So like keys, cipher texts, yeah, data items, secret shares, all this stuff, and in a nested nature. Okay, so some examples. Well, we could have random coins drawn from our set of random strings, which is represented by capital R.  We could have some encryption under some PRF computation of some secret share of another encryption of some data item D1, and maybe the other secret share of this encryption as well. Okay, so now I'll talk about the allowed derivations in this model. And what I mean by that is the strings that are derived from this grammar don't actually have any meaning. So really like no meaning and also sort of no representation beyond just being some abstract symbol. So for example, there's no bits in this model. It's just, yeah, each symbol is its own distinct abstract symbol with no exact meaning on its own. Okay, but the so-called entailment relation is what actually captures their meaning. And it's quite intuitive. Basically, for example, you can only decrypt a ciphertext if and only if you have its corresponding key. With a PRF key, you can compute any output of that PRF. And so going back to the examples of the symbols that we had on our last slide, assuming two out of two secret sharing, we can derive D1 if and only if we have the following strings, R, R prime, this first encryption, and this secret share. So what we can do is we'll compute the PRF of R and C, decrypt this first ciphertext to get now both shares of the encryption of D1. So we get this encryption and then use R prime to decrypt it. Okay, but if, for example, we were missing the second share of this ciphertext or maybe R prime, then we would not be able to derive D1. Okay, so as part of our lower bound, we define this key data graph. And this key data graph abstracts encodings of the client and server cells and the data array itself. Okay, so for this talk, I'll only consider PRF and encryption for simplicity. So what is the key data graph? Well, it's a directed graph at time t such that its vertices vt are keys that are sampled and still accessible by the protocol, as well as the data entries at time t. And then for the edges, we have one case in which, so for an edge from u to v, it could exist if v corresponds to some PRF computation on u. Okay, or also it could be that u is part of some nested encryption of v. Okay, so if we have encryption of k1, sorry, encryption under k1, of encryption under k2, of encryption under k3, of k4, then, for example, we have edges from each of k1, k2, k3 to k4. Okay, and also this edge will exist if such a ciphertext was stored in a server cell at any time in the past. Okay, so of course, the folklore construction is easily captured, but it's really much more general, this data graph. Okay, so here's an example. We have that k1 is stored in a secret cell, and we also have the encryption of k2 under k1, k3 under k1, of v1 under k2, d2 under k2, d4 under k3, and also the nested encryption of, so the ciphertext, which is the encryption of d3 under k3, which is then encrypted under k2. Okay, so this is what our key data graph would look like for this example. And, you know, maybe we also have some other stuff as well. Okay, so what happens if the protocol needs to overwrite d3 in this case? Well, it must forget k1 for forward secrecy, and then it must also forget either k2 or k3, right? Because if one of them is gone, then the ciphertext encrypting d3 cannot be decrypted. Okay, so let's say we forget k1, k3. That means that the encryption of d4 under k3, as well as k2 and k3 under k1, and finally this nested encryption of d3 all become useless, right? Because the protocol itself also will never be able to decrypt the ciphertext since these keys are gone. Okay, so yeah, the ciphertext corresponding to these edges are all gone now. Okay, so now what's the intuition for the main theorem? Well, we have this first lemma where we say that each data entry must have a path in GT from a vertex representing an encryption key in a secret cell, right? And this is because of correctness. We must somehow be able to derive all data entries and also privacy. Data entries or keys that encrypt them can just be stored in the clear on the server, so there must be something in the client storage, okay? And now here's lemma 2. So this is just a general graph theoretic lemma. If we take any graph GT, satisfying some requirements, but very basic requirements, and we randomly choose a data entry, then the corresponding path from the secret cell key has expected out-degree log n over s. And this expectation is just over the random choice of cell to overwrite, okay? And finally, we have our theorem where, yeah, just like lemma 2, if we choose a data entry randomly to overwrite in each operation, then in expectation, the contents of log n over s server cells become useless, like in the previous example, okay? And yeah, the contents that become useless, each operation are unique across operations, so we're never double counting anything. And I just want to emphasize that this is agnostic to any random choices that a protocol makes, because lemma 2 holds for any graph, okay? So yeah, we can just also to take care of nested encryptions, just take the graph with minimum out-degree paths to each data entry, and apply lemma 2 to this. Okay, so now the main intuition for some applications, well, we'll just focus on primitives that already have efficient, meaning a big O of log n, tree-based constructions, okay? And if we naively compose the folklore FSE-RAM solution with them, we'd get log squared n overhead. But instead, what we do is we overlay the FSE-RAM tree with these constructions, the trees in these constructions to retain big O of log n overhead. Okay, so it looks something like this. Maybe this is the other primitive scheme, and this is FSE-RAM, and we just combine them. Okay, so the first application is on forward-secret memory checkers. So recall that for forward-secret encrypted RAM, we assume that the server always returned the correct stored cells to the client for read and write operations. On the other hand, memory checkers, which have also been very heavily studied in the past, guarantee integrity of the outsourced data array. Okay, and for FSE memory checkers, we require both. So FSE of the data still holds, and also the protocol should output some error if some tampering has occurred. You know, if the server returns incorrect server cells, and this should happen even with client-state leakages. And what's the intuition? Well, we'll just simply overlay a classical merkle tree with our folklore FSE-RAM construction. Okay, so we'll retain the gov log n overhead, which is optimal with respect to both our FSE-RAM lower bound of this work, and the most optimal memory checker construction. And yeah, the best known memory checker lower bound is actually the go mega log n over log log n. So yeah, not quite tight with respect to that, but it is tight with respect to the best construction. Okay, so here's what a merkle tree looks like. Basically, we have the data cells as the leaves, and each of their parents stores a hash of them, and we sort of recursively carry this through to the root. Okay, so each node stores a hash of its two children. Okay, so how do we combine this with FSE-RAM? Well, if we look at these two children here, we store two ciphertexts encrypting these data items, and at its parent, we'll start by storing the hash of these two ciphertexts. Okay, and we'll do the same thing for D3 and D4, and then what we'll do at node 00 and 01 is we'll have some key, so the key that decrypts the leaves encrypted under its parent just as an FSE-RAM. Okay, and then at the parent of these two nodes 00 and 01, we'll store a hash of both the ciphertexts of the children and the hashes of the children. Okay, and we'll just carry this through to the rest of the tree. Okay, and for this hash, you can just use collision-resistant hash functions, or if you want to avoid the random oracle model, then you can use wolves, but then, yeah, you need to also include the description of the hash function at each node, and also the word size must be polynomial. Okay, and also note that instead of using hashes, we can just use FSAAD, but then we give up on integrity after some leakage occurs, right, because then the basically the MAC key is obtained by the adversary, and so she can tamper with anything she wants. Okay, so yeah, how do reads and writes work? Well, for reads, it's just the same as in the FSE-RAM construction, but we just make sure the hashes of everything we download is okay, and if not, then we output error. Okay, and then for writes, it's also the same, but when we download again, we check the hashes, and then when we write the new keys and ciphertexts to the server, we also regenerate the hashes. Okay, so efficiency is nice, asymptotically the same as before, log n, and for the security intuition, well, if we look at the root key and the hash, then the hash ensures that we have the right ciphertext, so we correctly decrypt the keys at the children, and we still of course have privacy. Okay, and then we can inductively carry through the same argument, the keys and the hash decrypted at level i, we'll ensure that the ciphertext at level i plus one decrypt correctly, and we'll still have privacy. Okay, so that's it for FS memory checkers. Now let's talk about oblivious FS eRAM, so FS eRAM on its own does not require patterns of reads and writes to be hidden, but of course oblivious RAM does require this. Okay, but oblivious RAM does not allow for leakage of client state, so the question we ask is can we combine these notions? Well the strongest notion which gives FS and obliviousness after corruptions unfortunately is inefficient, and we in fact show in omega n cell probe lower bound, which basically means the trivial solution of decrypting and re-encrypting everything on every read and write is optimal. But we can achieve both modulo client leakage, and what I mean is if leakage occurs then we have FS as an FS eRAM, but the access pattern is not hidden. If there is no leakage then we still have that our access pattern is hidden, and of course we have a vacuous FS. Okay, and we do this with big O of log n times f of n overhead for any function that is little omega of 1. Okay, and this is almost optimal with respect to the O RAM lower bound and the FS eRAM lower bound. Okay, so what's the intuition for our construction? Well if we use tree-based O RAMs then we can overlay the FS eRAM construction on this tree, but of course tree-based O RAMs unfortunately require log squared n overhead, but on the other hand hierarchical O RAMs have recently been shown to achieve optimal log n overhead. Okay, but we can't of course easily overlay the tree-based FS eRAM construction on these hierarchical O RAMs. So what do we do? Well we just compose tree-based O RAMs with hierarchical O RAMs. We'll use tree-based O RAMs and replace the position map in these tree-based O RAMs with hierarchical O RAMs. Okay, so I'll show what I mean on this next slide. So yeah, first we have the position map which stores a map of each data cell to the leaf in the tree-based O RAM that we use. Okay, and we store this in a hierarchical O RAM. Okay, and we do this because yeah this position map is what causes tree-based O RAM to have the extra log factor. Okay, so then we have our tree where we have k epsilon stored at the root and in each interior node we store encryptions under the node at the parent of data items whose leaf is in the corresponding subtree. Okay, and we pad with dummies if needed so that every bucket has the same number of nodes always. Okay, and each of these nodes will have a bucket with constant many entries. Okay, and yeah, so to augment the tree-based O RAM in the literature with our FSE RAM construction in each of these nodes we also store the the an encryption of the key at this node under its parent. Okay, then we also have a stash which stores encryptions also under k epsilon of at most little omega log n data items. Okay, so how do we read and write? Let's say we're reading or writing cell i. First we just look up i in the position map which because of our hierarchical O RAM has a big O of log n overhead then we retrieve the direct path and copath of i's leaf and decrypt them as in FSE RAM which of course is big O of log n overhead and then we retrieve and decrypt the stash which is that most little omega log n overhead and if it's a read operation we just return data di and then continue along the next steps and if it's a write operation then we update the data at i so we say we're going to now store di prime then in both cases we pick a new leaf at random for i and store it in the position map which of course is log n because of our hierarchical O RAM then we put it back in the stash with its corresponding leaf so the label for its leaf and then we greedily evict items from the stash to the nodes on the direct path of cell i in the tree sorry it's it's old leaf in the tree where we put an item in the node only if its leaf is in the subtree of the node okay and since there is log n such nodes of course this is log n overhead and then finally we regenerate keys for the tree and re-encrypt the nodes as in FSE RAM and re-encrypt the stash which is log n overhead okay so yeah and then obliviousness follows from previous analyses of the tree based in the hierarchical O RAMs but you know basically of course for the p-map we have obliviousness from the hierarchical O RAM and then for the tree well we we just decrypt and re-encrypt a random root to leaf path and copath reach operation and also the whole stash okay so basically every operation looks the same okay now for our final application we have forward secret multicast encryption so what is multicast well multicast a group manager distributes keys to a group of n users and these users can be replaced at which point the group manager distributes a fresh key to the current users in the group such that the key is private to everyone else so namely everybody that was removed from the group previously and anybody who will be added to the group in the future okay so there's a classical tree based construction that achieves log n communication and computation okay so our application hopes for stronger security and recently uh there has the the the community has has desired stronger security notions regarding state leakage so for example in continuous group key agreement we have the same setting as multicast but there's no group manager and this serves as the core of secure group messaging protocols and in continuous group key agreement user states might might be leaked and we still want FS and what's called as what's known as post compromised security okay but unfortunately this primitive can be very inefficient big omega of n communication and computation per operation in the worst case so multicast can be useful for the sgm setting where there's only one administrator who adds and removes users because you know of course we retain this nice log n efficiency okay so in this talk we'll just focus on forward secrecy for the multicast group manager state leakages only and disregard user leakages for now okay and as I just said we'll retain log n communication and computation and also aim for small group manager a secret state okay and so the for the security what what we want is if the group manager is corrupted all previous keys so group keys should remain secure okay and this is optimal with respect to both our fse ram lower bound and previous multicast lower bounds okay so yeah here's the folklore multicast construction we have a tree of keys user keys are at the leaves and the invariant that we want is that users only know the keys at the nodes on their direct path from their leaf to the root okay and the group manager stores the whole tree so what happens when we replace user three with user nine well we put user user nine's key in the old leaf then we generate a new key for its parent and encrypt this key to both children so both to id9 and id4 then sample a new key for the parent of zero one prime and encrypt to both children and finally sample a new root key which serves as the group secret yeah and the users that are in the sub trees just decrypt whichever cipher text comes first along their direct path to to acquire the proper keys that it needs to to maintain this invariant I mentioned on the last slide okay so our first step in making this construction forward secret is the following let's say we do the same thing replace user three with user nine then yeah at each node we have in addition to a key also a prg seed and the key will actually be a one-time pad key okay and so yeah when we replace nine we have a new seed and key s3 prime and k3 prime and we sample a new seed and key at the parent and then we just do a one-time pad of the new key at the parent under both children so really also we want to be able to obtain s1 prime from these encryptions as well and I sort of just swapped that under the rug but basically you just encrypt a seed that derives both s1 prime and k1 prime okay but now importantly every user in the sub tree as well as the group manager will just ratchet forward the two children here the keys of the two children using a prg computation on s2 and s3 prime okay and so as soon as a key is used we delete it so we have forward secrecy okay because if a group manager is corrupted then all all the adversary sees is keys that have never been used before okay but unfortunately the group manager still stores the whole tree so what we do to remedy this is just overlay our FSE RAM construction on the multicast tree which the group manager stores okay so let's say we have n equals four so four users in our group well we have a RAM key in the group manager's secret state so it's client storage and this RAM key encrypts both the RAM key at its children as in our FSE RAM folklore construction but also the seed and key for the multicast construction okay and we just carry this through to the to the leaves okay so how does a replace work now well if we want to replace id2 with id5 we just download and decrypt the direct path and co-path of id2 as in our FSE RAM construction then we generate the new multicast keys and cipher tax for this path and co-path and then we just do the same for our FSE RAM component where we replace the RAM keys on the direct path and regenerate encryptions of the new keys so both the new RAM keys and also the new seed key pairs okay and yeah basically security composes because yeah so we have forward secrecy with respect to our FSE RAM part of the scheme meaning that none of the keys at the old sorry none of the old keys at the nodes of the FSE RAM tree can be obtained meaning when a corruption happens only the current seed key pairs at the multicast tree can be obtained and as I said on the last slide because the keys will have never been used that are corrupted then we get forward secrecy with respect to previous group keys okay uh thanks that's it uh here's a link to our uh e-print paper and uh yeah I'm happy to ask answer any questions over email or in the live talk all right bye


Hi guys, I'm Kristen. I am sister number two out of the six sisters and today I'm sharing with you three virgin drinks for the holidays. So before we get started, I want to show you a little product that I've been using for a little bit in my kitchen. It's called a new air countertop ice maker. Some things that I love about it are one, you can put your own water into it. So it's going to be fresh, good water every time you make ice. Number two, these ice cubes are made super fast. No more waiting for your ice cubes to set up. They're made in about eight minutes or less. And number three, it is portable. You can bring this anywhere that there is an outlet, whether it's camping to a family reunion out to the beach. It's so easy. So if you always wanted a tabletop ice maker, now is the time to grab one because new air is going to give you 20% off if you go to newair.com and use the code six sisters. I'll put the link and the code in the description below. So go on over to newair.com and tell them that six sisters sent to you. Now our drinks are virgin. You can add whatever you want to them. But today we're making them family friendly, especially if you don't drink or you if you have kids at the party. All right, let's go make those drinks. The first one that I'm making today is the virgin Shirley Temple. This is one of my most favorites. So I'm going to grab some ice out of my awesome new air ice machine. And the trick is to fill up your cup about halfway full of ice. All right, now we're going to add a half of cup of orange juice, then a half cup of ginger ale. And use ginger ale. It makes a big difference. A half cup of sprite. And then two tablespoons. I believe you call it grenadine. I use roses grenadine. I got this at my local Kroger. You can find it at most grocery stores, but it's what gives it its color. Then I just topped it with two limes and a cherry. Now I suggest making this one at a time so you can get the awesome color of the Shirley Temple. All right, my next one is called sunrise spritzer. This one's perfect for large parties. So we're going to take four cups of orange juice. I like to use simply orange because it makes it taste really good. Next you're going to add two cups of pineapple juice. And then two cups of sprite or any lemon lime soda. Then I added a squirt or about one tablespoon of lemon juice. And last I added one to two cups of frozen strawberries that I have thawed. As my drink kind of mixes together, then I'm going to start filling up the cups. The trick is not to put your ice in a big pitcher because it will water it down. After it sits for about 10 minutes or so, let that strawberry flavor get in, then I just ladle it into my cups. This one was by far my kids' favorite. Add a little strawberry on top and they'll love it even more. And my last one is a cranberry cutie mock tail. First you're going to take about three ounces of sprite and pour it into an individual glass. Then the same amount, three ounces of cranberry juice and add it right to it. Here's where it gets fun. I take my little juicer and juice a whole clementine into the cup. And then last you're going to add about one ounce of lime juice. Again, I took my little juicer and just squeezed it. Or you can chop it up and squeeze a little in that way. Now I'm just going to add the ice from my tabletop ice machine and throw it right into the drink. I like my drinks really cold, so we're going to add about five or so ice cubes to it. Then put a little lime on top. You can even put a little cut up clementine on top for decoration. And those are our three virgin drinks. Now don't forget to go to newair.com and use the code six sisters for 20% off your ice machine. Thanks guys for stopping by. Don't forget to subscribe to our channel. See you next time.


Hi, this is Tay. I'm Rycard. I'm Shona. Hi, I'm Charlie. Hi, I'm Joss. Hi, I'm Charlotte. Hi, I'm Lee. Hi everybody, I'm Vicki and this is the lazy person's gaze to look and hear. Top 50 hacks if you're feeling lazy. Number one, phone a friend, see if they want to come to the gym with you. Number two, look up new motivation, whether it's a YouTube video or on social media.   A fitness hack if you're feeling lazy and just want to stay at home is to just do a work out at home. Have some equipment that you use, a couple of weights that you can kind of keep under your bed and get your work out on your bedroom. And also, put in on some music, do some housework, going for a walk. Anything that's just going to get you up and moving. Also, get outside. Fresh air will make you feel more energetic. Exercises you can do at your desk, desk sizes. Actually, it's really, really important that people that do spend a lot of time sat down, do move. So really simple things, like knee raises. So raising your knee, your foot up on the floor, opposite legs. You can always do a little bum clench. Little bum clench. Little bum clench. Back clenches, so you can just kind of squeeze your back. You get a little bit of time. Turn yourself round. You put your arms on the back of your desk. Do a little tricep dip. You can also do squats, so standing up in your chair and then sitting back down. It's really important to keep moving all day, not just for one hour a day. So if you can, take phone calls, standing up, walking around the office while you make your calls. It's so much better than just sitting in your chair all day on the phone. If you're watching TV, a good one to do is like do some squats whilst watching TV. Also do some stretching, sitting down, stretching out your legs. You can always do glute exercises while you're watching TV. Glute bridge, you can hip thrust. Go into a plank position and hold it for the duration of the adverts if you don't like watching the adverts. If you're always hungry, check that you're not actually thirsty. A lot of the time we mistaken hunger for thirst. Your body actually sends the same signal when you're thirsty. So try to drink more water throughout the day because that might be why you're hungry. Get at least two litres of water in you a day. Rather than snacking on that crisps or chocolates, fruit will win all day. I'm always hungry. Fill your plate up with things like greens, lords and lords of broccoli, lords and lords of kale, next to no calories, lords and lords of nutritional value. And you can have as much as you want. I mean just don't pick up a chocolate bar every single snack time. Common sense will tell you that's not the right thing to do. And I think deep down you all know the right things to be eating. Try and have fruit nuts instead. It'll take some getting used to it first, but listen, it's a tiny change and it'll have such a radical effect on your body that you will never ever go back. Lazy people that need motivating, you are the only person that will get yourself there. I can give you the information and tell you what to do. I can scream at you, shout at you.  Have a specific goal, a weight, a measurement, a size that you want to be. And also take pictures as well because this can really motivate you from where you're starting right now to where you want to be. Remember that first time that we met, that we spoke? You know why you wanted to train? Remember that. Now let's go and train.