We are in a race against time to adapt to a rapidly changing climate. To put it simply, the state of the planet is broken. How can we engage? The entrepreneurial force, not only of large enterprises, but of new startups, of young people. We need all hands on deck to build back after the COVID-19 pandemic. And the greatest and tapped resource that we have is what's in every person's head. The only way to reach the UN SDGs by 2030 is to approach these persistent societal challenges in new ways. Uplink is a perfect platform for this because it brings together in one place social entrepreneurs, businesses, and the public who can combine their efforts. We need business and government. We need civil society. We need all citizens working together. And when we do, we can all be platforms for change. And that's why I'm so excited about Uplink. Young people in particular are very much disadvantaged when it comes to accessing a network. Uplink actually gives them a space to present their ideas and link up with mentors and networks that they might otherwise not have achieved. Exploring how we can unite art, science, and local communities to accelerate marine restoration. My dream is to be a non-profit organisation based in Caroline with the aim to tackle the marine plastic waste. I started SUGI to bring the wisdom of the ancient forest back in the midst of urban life. Portolio Health researchers find cures and treatments that they wouldn't otherwise been able to find. We've developed a technology that can take seawater, convert it into drinking water through the photons of the sun. We all could be tremendous platforms for change. We all could imagine a better, safer, healthier, more equitable, more sustainable world. We can do it together, we can find each other, we can connect, we can create, we can invest, we can grow, and we can achieve with Uplink. Uplink is a unique tool to improve the state of the world. The door is open, the solutions are there. Now is the time to transform humankind's relationship with the natural world and with each other. And we must do so together. Hello and welcome to the Davos Agenda Week. My name is John Dutton. I'm the head of Uplink at the World Economic Forum and thrilled to have you with us for this session entitled, Accelerating Grassroots Innovation. This is a session that is all about the project Uplink that the forum has launched that is looking to highlight some of the great work that we've been on over the last year. Now this all kicked off in Davos a year ago when Davos was launched. We went live with a platform in April. We've been able to source over 900 solutions. There's been 15 innovation challenges that have been run. We've been able to recognize 100 Uplink innovators who are high quality vetted solutions that are supporting the SDGs. And importantly this week, we've been able to pass, in fact, fly past 10,000 users on the platform. We're thrilled to have you here. Now, of course, none of that would be possible without the support of our founding partners for Uplink. First off, of course, Professor Schwab in the World Economic Forum, but also Mark Benioff in Salesforce and Punit Rengen and Deloitte. There have been tremendous collaborations across these three organizations over the last year. Colleagues working tirelessly to launch and implement a platform to support thousands of entrepreneurs who want to make a difference with the SDGs. Now, the session that we're going to run today has really two main objectives. The first is really to inspire the thousands of you that are watching along with us for this session to get involved. Uplink is the forum's first digital open accessible platform that allows anyone anywhere to get involved with the SDGs and it's free. So please do come on, anybody that's joining right now, we'd love to see you sign up for the platform at uplink.weform.org. And of course the second objective is about showcasing some of the impact that this platform has been able to support through the first year. And we're excited for that to have four amazing Uplink innovators with us. They are going to be doing the work for us to tell us about their impact and really share a little bit more about how they're making a difference for the SDGs. Now, before we go to them, a really quick note. I would invite anybody joining us through Zoom, take advantage of the chat function, share any questions that you have or comments. And of course the second half will be a much more interactive portion where we get you into breakouts with each of these innovators. But without any further ado, let me come to our panelists. First, let me introduce Wajija Khalid. Wajija is the co-founder of Cubex Global, a digital marketplace for Seafrate that maximizes empty shipping container space while simultaneously protecting the planet with a more sustainable approach to ocean transport. Wajija is part of the Uplink Ocean cohort, in fact the inaugural cohort on the platform. Kenneth Kwok is the founder of PPP for All, PPE I should say, which commits to producing FDA registered and surgical grade face masks at affordable prices to ensure everyone has access to personal protective equipment. So far one million face masks have been donated to social enterprises and healthcare organizations, most of them belonging to the minority communities. Kenneth is part of our Uplink social justice cohort as part of the COVID challenge. Alban Bresson is the co-founder of Reforestum, which has collaborated with EcoSphere Plus to deliver an end-to-end solution that brings transparency through technology to scale climate action. It's connecting companies and individuals to vital conservation and reforestation projects. Uplink Alban is part of our Uplink Trillion Trees Innovation Cohort.  So with that, let me come to you guys. I'd like to hear from each of you and to share with the audience a bit more about each of your organizations. What is the impact that you're set out to achieve and what is some of your ambition over the next 12 to 18 months? Wajihah, perhaps we can start with you. Thank you, John. Good evening, everyone, and thank you for giving me the opportunity to speak at this year's Davos agenda. I'm excited about sharing the work that we do at Cubics Global and how Uplink has helped us in our startup journey so far. So the problem that we are trying to solve is that every year 100 million half-empty shipping containers travel from one port to the next, costing $25 billion to the maritime industry. 280 million tons of excessive carbon pollutes our planet due to lack of space utilization of these empty containers. Our startup Cubics Global solves this $25 billion problem and also drastically reduces carbon emissions in ocean freight by up to a 20%. We are an online marketplace where all these half-empty containers are exclusively traded like any other commodity. Anyone can bid for this empty space in real time and once a bid is processed, all documentation takes place on our platform. To this, we are able to create a win-win opportunity for all stakeholders where, number one, shippers can get up to 10 times cheaper rates as compared to the open market. And number two, carriers monetize their empty space and make profit while we earn a commission and help reduce carbon emissions at the same time. Thank you so much for that, Wajiga. Do you want to add a word about any ambitions that you have for the next 12 to 18 months? Yes. So since the start of the pandemic, the global supply chain and the logistics industry has been massively impacted by disruptions and delays. Our demand has skyrocketed three times while our supplies have remained low during the same timeframe. So currently we are facing demand and supply imbalance. So in 2020, we expanded into the USA, Pakistan, Oman and UAE and we are well on track to expand into Saudi Arabia, Singapore and China by the end of this year. But we are also looking for suppliers in the regional corridors while building strong regional teams at the same time. So getting more suppliers on the platform would essentially mean getting more half-empty container traffic onto it, translating into a borderline of achieving our growth and impact targets at the same time. Brilliant. Thank you so much for that, Wajiga. Let's go from the ocean to water. And ocean has saltwater. Alexi, can you talk a little bit about how Desolinator is looking to create a purified version of that for communities around the world? Thank you very much, Sean, and greetings to everybody. So imagine if you could have a reliable, low-cost, scalable supply of high quality water from California to Indonesia to parts of India and Africa and based purely on the power of the sun and abundant resources such as the ocean. So that's what we do at Desolinator. We've developed a technology that can provide sustainable water for not only communities, but also for what I call enlightened corporations that have really embedded sustainability as a part of their strategy, where sustainability is integral and where they have exposure to the water crisis. We can actually create a lot of value by providing water for these people. So as a company, we're seedfunded by one of the top people globally in the industry. We're currently closing our Series A investment round. And despite COVID, we're going live with our first large-scale plant in Dubai, which is what you see behind me, which was super excited about. Our second large-scale plant is in partnership with Carlsberg, and we'll be going live in around May of this year. And I'll share a link below so you can read more about it. In the next 12 to 18 months, our main focus is on the one hand to build out our supply chain. We have huge amounts of demand coming from all over the world, from island nations to corporations in Asia, for example. And really what we're looking to do and what really will move the needle for us is finding particularly corporates, partners, NGOs who are really looking at innovative ways to address the water crisis in a sustainable way and without damage to our oceans. Thank you. Thanks Alexi. Albon, on your side, you guys have been trying to connect companies to projects around the world through transparency and technology. Do you want to talk a little bit about what your solution is all about? With pleasure, John. And again, thank you for having us and great to be here among fellow Blink innovators. So Refarestum, as you've said, it is a marketplace connecting companies and individuals with the best forest projects around the world that are certified to sequester carbon. Now, one of the big problems with carbon offsets generally and voluntary carbon markets over the past decades has been the lack of trust. Trust from consumers, trust from companies, and that really has prevented the markets from scaling. I was hearing about it just on one of the forum panels last night. Now, Refarestum brings technology that helps basically monitor projects at the project level using real-time satellite images. So that brings more transparency on the project side. But we're also making it more accessible for end customers, companies and all stakeholders basically to be joined in a digital community around the forest projects. These are conservation projects as well as reforestation or other nature-based restoration projects. So 2020 was a huge year for us actually. It started with adding EcoSphere Plus as our key partner and we won the trillion tree challenge together. But we also added our corporate partners like Microsoft, L'Oreal and even more recently Miracle and Overs. So this coming year 2021 for us is about validating that we're on the right track, prioritizing with the scarce resources we have and getting more partners on both on board. Both tree planting organizations as well as corporates wanting to get to net zero. Fantastic, Abel. This brings us to you, Kenneth. First to you, Kenneth, you've been involved on a few different elements of this entrepreneurial ecosystem on the one hand through this project PPE for all but also as an impact investor. But maybe starting on the solution side of things, do you want to share a little bit about PPE for all? Sure. Hello everyone. First and foremost, I would like to extend my thank you to the World Economic Forum, to Mr. John Dutton and the entire uplifting team. My name is Kenneth Kwok, my pronouns are he, him and his and I am based in Hong Kong. Well, John, you asked a great question because I always think about how can I, how can we innovate better together and deliver on the SDGs. Here I see an important highlight, which is equity in health and health care. We started with PPE for all. Whereas a manufacturer of surgical masks, family masks has now actually donated 2 million units now with over 70, 75 grassroots organizations around the world with the support of uplink, the forum of young global leaders and the global shapers community. We also shared our know how with other PPE startups in Africa and South America, thanks to uplink. Now we're also moving on to focusing on prenetics, which is on global COVID testing as well. For me, health care is not a cost. It is an investment. And I see three key areas of ambitions in the next 12 to 18 months. First is scaling with public-private community partnerships. Take the example of the UK, where we worked with the UK government to restart the English Premier League season with rapid testing and also to introduce a digital health passport in stadiums. Area two, I would love to do more work using a hybrid for-profit and non-profit framework. Imagine you and I, and just with a single saliva swab, access over 500 health reports. That's whole exome sequencing technology of prenetics and our circle DNA consumer test. Impact is underpinned by a health and well-being. In talking about non-profit, we pivoted from DNA to COVID testing and we launched project screens so that we can look after the elderly, disabled and marginalized. And finally, area three, awareness and community building. There's an old Chinese proverb which states, Xing Wan Li Lu Sheng Du Wan Jun Shu. Sounds fancy, but really it's just action over words. And in Asia, we have strong impact-led communities. Under the patronage of Invest Hong Kong, StartMeUp, you know, Asia's largest startup ecosystem, hosting innovators from 100-plus countries, I would love for offline to work closely with them. We have W Hub, who has the startup and scale-up impact summit with 55,000 members. Lastly, Mainland China, we have Qinghua University with the SDG community. So, at Uplink, we've all found a great impact for an innovative home. What are you all waiting for in the audience? Join us. Thank you, John. Thank you, Kenneth. I think, you know, hopefully this first round gives you a sense of the types of organizations that have come on to Uplink and are really having a real difference. This is just an example. As I said, we've recognized almost 100 Uplink innovators. I thought I'd do a rapid-fire round, actually, to this group again. But we'll also invite you to come with questions, those of you on with us on Zoom. You know, I guess I'd love for you to give an example of the types of needs or kind of priorities. What type of support are you looking for in terms of this next phase of growth that you just outlined? Maybe we start off with you again, Kenneth. Sure. John, I'll be brutally honest here. I am turning 40 this year. So, I've had a lot of time to do personal reflection.  Now with Uplink, anyone can have a voice and truly scale. So, if you ask me one area that would definitely be in government liaison, I'll give you a case study. You know, when invest Hong Kong, you know, during COVID, we actually collected feedback from founders through Start Made of Hong Kong. That got us really targeted initiatives, financial support for companies to retain staff, adoption of fintech and subsidies and all that. So, yes, if I have one ask, I would love Uplink to help us more connecting innovators with government so that we can launch timely and impactful initiatives. Thank you, John. Brilliant. I love how you just kept it to one supporter need that you had. Let's keep going on that theme. Wajih, what about on your side? Yes, John. Thank you. So our immediate needs can be summarized into three points. Number one, getting access to the working capital for meeting our immediate demand levels by investing in technology infrastructure and onboarding more suppliers at the same time. We are open to receiving grants. We see an angel investments for that matter. Number two, getting access to strategic partners for business expansion by opening up more business corridors for our startup. And number third, access to forums and other networking communities for staying up to date with the industry trains and getting access to the right talent pool for building our team from ground up across the corridors that we are operating. Thank you, Wajih. Very clever. You were quick is quick enough to just cover cover three in one. I love that. Albon, what about on your side? Well, on our side, if we had to pick one, I'd say it's to really get to product market fit. And for that, you know, we've seen so many organizations 1500 in this forum alone. Since last year have committed to net zero, but we'd love to help them take it the next step and understand, you know, whatever needs to get that trust, get that transparency, get that engagement from their customers. So getting that discussion started with with those organizations for us is really the key that that link is helping us solve fantastic. A little bit of a call out to any corporate executives are on with us and to join Albon his breakout group later on. I think Alexi on your side. Well, I'd love some of them to join our breakout too. So look, we all know what's happening with our climates. We all know that there's a fundamental shift on the way the technology exists to make that transition. What we're missing is a force, a collective will to actually make that change, not in an incremental way. And so our main focus is to identify key stakeholders, whether from the corporate world, whether from NGOs, you know, who really get that and who really wants to push the boundaries to do transformative work and to hopefully create an unstoppable force. Thanks, Alexi. These give you a sense of a few big ideas that the uplink community is coming up with. I want to take a quick pause and go back to our live stream audience. One of the ways that you can get involved is through a campaign we launched this week called my big idea in collaboration with tiktok. So far there's been 81 million views across the campaign, tons of big ideas are coming through. And our next phase is going to be how can we get more of those big ideas to join us on the uplink platform. So just a bit of a shout out to everybody out there that's already made a contribution to that and please do think about producing your own video if you haven't yet. Let me take a quick pause to see if we have any questions coming in from the audience. There's looks like we have the first one that is come from Sikander, the curator of our Karachi Shapers Hub. Wajih, you must be getting a little bit of support from our Pakistani colleagues across the forums network. And Sikander asks, how are you dealing with your workforce going virtual, especially in the context of social innovators getting started? Maybe you can take a let's just get one or two of you to share kind of this aspect of being an entrepreneur. How has this aspect of going virtual away from the office affected your your operations? Wajih, do you want to take that? Yes. Okay, so I think every every one of us, you know, has gotten impacted by the way, you know, we are working or we have adopted ourselves to, you know, in our work lives in the post pandemic world. And I would say, you know, right now my co founder is on is sitting in Dubai, while I'm sitting in Pakistan, and our back office team is, you know, sitting in another city. So I'd say that with technology, we have been able to, you know, pull all the strings together and work in a very well concerted and you know, in a very coherent way. And although it did bring it fair set of challenges in the beginning, but now we have adopted to it and yes, we are going, going along.  Any other experience maybe one more on this one before we move to one other question. For us, john, it's been relatively straightforward where anyway, you know, as a startup now in this world you're anyway using all the tools that are out there. You know, there's so many tools to be effective. So so having a technology, have it being able to use technology I think is fundamental. I think the most important thing for us is we're a mission driven team. We all have deep roots, we all have deep belief in what we do. And I think if you have that, you can weather transitions like this, you know, people make it work. So it's been a it's been actually I'd say an advantage for us in many ways from an operational point of view. Let me carry on on the digital side as we as we seek other questions from the audience. You know, there's a this aspect of having the public support your efforts and engaging them. And I wonder, Albon, Kenneth, if you have any tips or kind of what has worked for you in terms of engaging the public, how have they been supporting your efforts and how would you ask them to support your efforts. Kenneth. Sure, if my in my humble experience, you know, after all, I am part of the social justice cohort. So I'm going to put it out there. You know, the role of technology in advancing social justice and diversity and inclusion is something that we really believe it's important because upskilling and embracing frontier technology is critical. You know, through top link, I've had the privilege of being introduced to global experts on digital transformation, digital inclusion and cybersecurity for gender parity, LGBTI equality, disabilities inclusion, racial justice and more, because no one absolutely no one should be left behind as we reset and rebuild our resilience and trust. So, yes, education for all is definitely something we do for all our team members and hopefully the entire ecosystem of startups and innovators. On to you, Albon. Thanks a lot, Kenneth. On our side, that's how reference to start it actually was as a digital community supporting local reforestation projects in Spain. Diego, our founders started started the company with this mission in mind and since then we've expanded and really found corporations to be the lens through which we want to touch so many more people and bring them all onto this digital community where they can see their platform and our aim is to, you know, reach a billion customers in terms of carbon pricing at the product level by 2025 with our partners ecosphere. So it's pretty ambitious, but we think we can get there. Fantastic. We have maybe one more minute for questions. Anything coming through the audience. Let's see here, maybe I'll go to Alexia on the same question about engaging consumers. Either of you guys like to comment on the importance of consumers or the public for your for your efforts. Sure, I can. I mean, we're we're developing systems that are quite large scale. So our customers are governments, businesses, charitable organizations. However, what we've seen is that there's a huge amount of support out there. You know, we've been amazed that through the uplink program, you know, video that was made got over 400,000 views in a day and it's incredibly heartening. And for me, it says that there's the beginnings of a movement here. And what hopefully we can do in a small way is to provide a bit of vision to enable that movement and to gain strength. So I think, you know, whether it's your 15 years old and in your bedroom and you want to get involved, you know, reposting, creating awareness, ensuring that the water crisis is actually on people's radar and something people care about because by 2030 on current trajectory, half the world won't have reliable access to clean water by 2030. So we need everybody involved in this. Thank you. I'm going to I'm going to stop there. We have one question that I feel like is that's coming from the audience from Andre Hoffman. In fact, one of the forums board of trustee members fantastic to have you on with us. The, you know, from your question, what makes uplink unique? There's been others that have tried this this role of connecting the VC world with with entrepreneurs and the ecosystem. And, you know, maybe I'll take that as an opportunity to talk a little bit about our evolution and invite our studio to just quickly bring the platform up on the screen for us. This is a platform that we're really excited about. It's it is, as I said, the first digital platform that the forum has put together that allows anyone anywhere to get involved. We also know that it's it's got a long way to go and it we're really proud of the progress. Thanks to the support from Salesforce and Deloitte that we've made over the last 12 months. But there's a number of things that we need to improve upon. One is, you know, Kenneth, you touched on some aspects of this. We need to be more inclusive, both in terms of language barriers that are currently there for some entrepreneurs and change makers, but also by seeking out underrepresented geographies, sectors and populations to tap into. And then to your point, Andre, the we've started out the platform by really trying to focus on how to make it a great platform for entrepreneurs. But the next phase is about how can we bring on experts bring on investors, corporate executives, funders and organizations that would actually like to launch innovation challenges. You'll hear later on in the second half about some of the and in fact in the closing film about some of the next innovation challenges and and already funders and philanthropists and companies have been excited to leverage uplink for their challenges. And I think that's that's really at the heart of it. How can you pin together the the solutions that are out there with some of the big challenges and needs that companies, organizations, the UN and other philanthropic organizations are really looking to solve. But I just conclude this piece, I would say, you know, this is a free platform for everybody that's dialing in and joining us on the live stream. Help us populate the platform, bring it to life because there are amazing entrepreneurs like these four that are helping to achieve the SDGs. With that, maybe I invite our team to launch the last video. Anybody on zoom with us, please do stick around. After this video, we will come back and have some additional conversations where you can get to know our innovators in a little bit more of a private manner. Thank you so much to everybody and join us for uplink's impact. Uplink has not only achieved impressive success, but it is now recognized as a globally inclusive platform for addressing the SDGs. We must use this moment to truly catalyze change. We must identify what is working, the new ways and innovations that are delivering results for students and what we can learn from and scale. We can do it together as entrepreneurs, as visionaries, people who are committed to helping each other, supporting each other. We're going to become an ecopreneurs. We're all focusing on ecopreneurship. How can we not? The night our video got published. In the first 24 hours, we generated almost 2,000 leads. Our funds were running off the hook. It also brought an enormous amount of people downloading the app and actually requesting it for us. The Prime Minister of Norway actually gave us a video message congratulating us. Being part of a platform like Uplink and benefiting from the exposure that this platform has was a real game changer. It's the access that it gets us to important stakeholders that we would not have had an access to before. Urge you to get engaged and to use this tool for the benefit of all of us for the benefit of humankind.


Hi, I'm Janet Stringer, and I'm a constable with the Vancouver Police Marine Unit. Today I'm going to talk to you about the rules of the road when you're on a paddleboard. A stand-up paddleboard is considered a human-powered vessel when being paddled outside of the surf zone, and you must adhere to all of the rules of the road on the water. Just as on land, when you are paddling in a narrow channel, such as Falls Creek, you must stick to the right side of the waterway and allow faster vessels to pass you on your left. Do not linger in the middle of the channel or on the wrong side of the channel as it may confuse other boaters and it will put you in danger. Be cautious and do not impede other vessels when crossing a channel. Finally, no matter what you're doing on the water, have fun and be safe.


I think, well, my parents, they were very loving parents, but also very, we minded them. If they said, do it, you did it. Like my dad, he said, we would say, well, I can't do that, and he'd say there's no such word as can't. So I've always liked discipline and following the rules. I've met people that have come from elsewhere that say, laws are made to be broken. I've never thought that way. I think that laws are made by people that have experienced things. I know we all, we don't agree with a lot of them, but they're there, so follow them or do something about it.


Going on everyone Sam here with late and sports cards. We are doing 2022 tops inception baseball 16 box full case number 50 random division style. Here's a look again at our Division All right, I look at it look back at our random as always you can find these on the website on the results tab as well As a Lincoln shot. Let's get started on it. Good luck here everyone Looking for one hit a box always gonna be an auto or an RPA or a jersey auto So good luck pretty solid. That was pretty good. I ain't hating on that Good luck here everyone in section time. There's a wander rookie Crying Reynolds got red auto Marcos de Plon 41 out of 50 AL East there you go Eric R Green Buster Posey green Mountcastle Lindor and Rendon Box number two No, no, no not messy not messy very clean drop there Carl very clean drop For inception, inception is tough Seption is tough Abray you we got Dylan Carlson second-year auto going to the NL central 235 out of 249 There you go NL central orange max Muncie 43 out of 50 and a West Vidal Bruhan AL East on the green rookie Reese Hoskins and Lou Bob does that's actually funny Second box is like you snack. Ooh We've got a Tyler Gilbert silver ink 80 out of 99 going to the NLS. There you go Harper Nice one there, buddy. Love the silver inks out of these generally case hits Jose Berrios, Manny Machado, Donaldson and Eloy This car old guy, man. I tell ya This car old guy give it to a girl. Thanks, though. Yeah, Matt Manning. We've got that is Nick Madrigal on the three colored Jersey odd or patch auto 43 out of 75 NL central at B Reese Hoskins green Bryce Harper Jake Berger Luke Williams Next box. Good luck here again, everyone. I own some Buxton we've got Steven writings AL East three out of 75 going to the Yanks on the Aqua auto Cal Raleigh green Corbin burns Eric Cole and Bochette trade Turner Ian half got Josh Lowe on the Rookie patch auto 242 out of 249 there you go AL East to Eric R the grunt Josh Rojas Muncie and Fado. That's a Joshua goes he goes Lakers are in mid-season for me down at 20 Yeah Fernando Tatsis we got a red Josiah Gray three colored RPA 13 out of 25 NL East There you go, Chris V. Congrats Chris Whitmerefield Dan B. Swanson and they trout base. Oh Yeah, he's he's one of the big rookies this year not big rookies But one of like the rookies this year like one of the rookie bats So he's one that isn't terrible to hit outside Thank you and Rika Hernandez got redeptmers rookie auto Aqua 18 out of 75 going to the ALS there car Picking up a nice one there. We've got Moustakis going to the NL central one 19 out of 150 green-air and judge Machado and Otani half way through guys own to the next one here Beer lane Jake burger 145 out of 299 going to the AL central James M Nice one there Gavin sheets green rookie Max Kepler and Stan and we've got Luis heel that is 11 out of 99 on the two-colored RPA going to the AL East with the Yanks Eric R. Again red is Buster Posey 12 out of 75 and I'll West with Hartford read Deptmer's green rookie Tony Santheon and Mikey Stremsky Next box good luck guys. Let's see. We got last now Bellinger. We got Jake McCarthy Rookie Auto going to the NL West 107 out of 299. There you go. Harper blue Shane Bieber 13 out of 25 He's got sent home AL central Rez. We got Joe Barlow AL West 12 out of 125 on the green auto Going to the Rangers pink Kyle Muller 34 out of 99 going to the AL NL East Posey a brave Max Kepler read that marriage rookie for to go guys. I'll see if I got a redemption coming up Autograph jumbo patch card orange parallel of Vladimir Guerrero Jr Oops camera just fell over My now rookie mistake there that is going to the AL East with Eric R. Congrats Eric That is awesome, man. That's gonna be so sick Orange might be out of 25 if I'm not mistaken. That's a banger Luke Williams green rookie Chris Bryant Bryce Harper Vidal Bruin There's always usually some something big like that one of those like usually like the horizontal one. Yeah orange parallel be number 25 Yeah, that's what I thought that makes sense But inception it's always a little different so it might not be but it sounds like it would be number 20 Couching Dan's be Zach Thompson AL East with the Marlins on the green rookie auto pink Xander Boeger 22 out of 99 AL East Tony Santy on green rookie Moustakis and Brandon Crawford Brandon. Wow. That's Spencer walk-ins 288 out of 299. It's 50. Thank you, SG Going to the Orioles JT Real Muto Enrique Scherzer and Corbyn burns And last box Haha, what's up, Bo? That's a trash bird. I'm assuming right based on your order number 20 section is blue or blue is 25 for inception. Gotcha Blatty. There's a Romeo Gonzalez AL central 83 out of 99 on the pink auto Randy arosa rain a purple to 150 green old Sonny Jaren Durand and Mookie Betts That'll do it for the break guys do a quick recap here Spencer walk-ins AL East Romeo Gonzalez AL central. That's Zach Thompson. And I'll East Joe Barlow AL West Jake McCarthy and I West Louis seal AL East Jake Berger and I'll air AL central redepners AL West That is Josiah Gray and I'll East that is Josh low AL East Spencer riding or Stephen writings AL East Nick Madrigal and I'll central that is Tyler Tyler Gilbert going to the NL West Dylan Carlson NL central Marcos de Plon AL East and Vladimir Guerrero junior on the jumbo a patch card orange parallel Go into the AL East that'll do it for the break guys. Thanks again. Next up is personals


Okay. Hello, everyone. Good evening. I'm Sriram. I'll be talking about authenticated encryption of key-dependent data. This is joint work with Mihit Belare. Classically, the security of encryption schemes has been captured by the indistinguishability under the chosen plain text attack, or the INDCPA notion of security. This was introduced by Golvasar and Mikali in 84 in the public key setting, and later by Belare and others in 97 in the symmetric key setting. Now, over time, we have gained a lot of confidence on INDCPA, and we would regard it as sufficient for many practical applications. But INDCPA comes with a caveat. Messages cannot depend on the key. Now, there are certain applications where we would like security even when the message depends on the key. If we had this kind of security, we could get anonymous credentialed schemes. This was shown by Kaminash and Lishansky in 2001. A year later, Black, Rockaway, and Shrimpton showed connections between key-dependent messages and formal methods in cryptography. Now, they modeled key-dependent messages by deriving the message from the key using a message-deriving function, phi. It turns out, apart from these applications, there are several practical settings in which key-dependent messages arise. Disk encryption tools like BitLocker sometimes end up storing the key used for disk encryption on the disk itself. Often, these keys are derived from the user's passwords, say, with a hash function, and this password could be lying on the disk, and sometimes the hash of the password could also be lying somewhere on the disk. Because of concerns like these, the IEEE standards for disk encryption, IEEE 1619, rejected one of the candidate schemes they were considering because that scheme had a prominent KDM attack. This is kind of an indication that KDM security is important in practical concerns too. More generally, we cannot expect users or designers of systems to ensure that the key and the data are not related. Rather, we want to design cryptosystems which are secure even when the key and the messages are related to each other, and this is about misuse-resistance and getting robust cryptosystems. Anyway, coming back to the work of Black, Rockaway, and Shrimpton, they extended the standard indistinguishability under the chosen plaintext attacker, INDCPA, to consider key-dependent messages. They provide models, definitions, and they show that this notion, KDM CPA, there are schemes which are secure in this notion. They describe the following random model scheme. And subsequently, there has been a lot of work in KDM about removing this random model and getting standard model schemes which are KDM secure. If we look at these schemes, we find that they are usually, they consider security for restricted classes of message-desiving functions, and they are inefficient and impractical. On the other hand, cryptographers have asked about the possibility of key-dependent messages arising in other primitives. Halloween crotchik considers security of pseudo-random permutations and pseudo-random functions in the presence of key-dependent messages. Back as Fitzman and Skedraw extended the CPA scheme of Black, Rockaway, and Shrimpton to consider a basic form of authenticated encryption. In this work, we revisit key-dependent messages in the setting of authenticated encryption. But we take a more comprehensive view and we focus on the practical aspects. Why? Because arguably, for symmetric crypto, authenticated encryption is the most important primitive going by the extent of usage. So we want to know what are the issues that arise when we think about key-dependent messages in AE in a practical sense. So let's first take a look at authenticated encryption. There is no KDM here. This is standard authenticated encryption. Now, the first thing to note is that unlike CPA, authenticated encryption not only guarantees the privacy of the message, but also its integrity. And if we look at the model of authenticated encryption considered by Back as Fitzman and Skedraw, which we'll call Classical AE, we see that the encryption scheme takes in a key and a message and a random IV. Now, in practice, authenticated encryption schemes are more complex. Not only do they have to deal with the message, they also have to deal with associated data in the form of a header. This header is also provided as input to the encryption scheme. The interesting thing to note is that the scheme has to guarantee only the integrity of the privacy. Another change is that unlike the Classical AE, in modern schemes, there is no random IV. Instead, there is a non-switch that is provided as input. This non-switch does not have to be random. We'll come back to the non-switch issue in a couple of slides. So if we want to look at authenticated encryption and KDM in practice, this is the form of AE we want to look at. And as I mentioned earlier, authenticated encryption is an important alternative, so there are many standards talking about authenticated encryption schemes in mobile security, in IPsec, et cetera. And these standards consider AE schemes with a nonce and a header in this form. So now if we bring in KDM, what are the issues that we have to handle? As always, the message can depend on the key. This is what KDM is about. But now we also have a header, and the header can also depend on the key. Not just that. The nonce that is given as an input to the encryption scheme does not have to be random. If the nonce is random, we are in one setting. This is the random non-security setting. But there is another setting called universal non-security where the encryption scheme is only guaranteed a nonce that is unique, that is non-repeating. It could be from any source. For example, it could be a counter. Now, it's easy to see that universal non-security is more attractive in practice. It's easier to maintain a counter that is to maintain a source with good randomness or pseudo-random generator. Consequently, the standards that we saw on the previous slides... Sorry. The standards that we saw here actually talk about authenticated encryption in the universal non-setting. Let me just go back there. Okay. So we are starting to see that if we want to look at KDM in authenticated encryption, there are all these things we have to deal with. The answers, messages, headers, et cetera. As a result, we're not looking at one object here, but we are actually looking at many variants. The message and the header could both be key dependent or not. And this already gives rise to four possibilities. And we also have random versus universal answers. So we have to deal with eight possibilities in all eight variants. And the natural question to ask is, can we get secure schemes in all of these variants? Or can we at least... So there is another issue here. So if we cannot get security in some of these schemes, can we at least show that it is not possible to achieve security? For example, can we show attacks that say that whatever scheme is there in a variant, the attack breaks the scheme? So one thing is easy to do here. If the message and the header are both independent of the key, then we fall back to normal authenticated encryption. We know we can achieve this. We have standardized and secure schemes that achieve security in this setting. So let's look at the other variants. Now we have six variants in all. The message can be key dependent. The header can be key remittant. Both of them can be dependent on the key. And the nonce could again be random or universal. So in this work, we ask the question whether it is possible to achieve KDM security in these settings.  And we show two attacks. Our first attack shows that with universal nonces, it's not possible to get KDM security. Now keep in mind that the standards that we saw all talked about authenticated encryption with universal nonces. So what this means is that none of these standardized authenticated encryption schemes can be extended to key dependent message security. This is already somewhat bad. And the other attack that we show rules out security in the presence of key dependent headers. So what is remaining? The only remaining setting is when the header is independent of the key and the nonce is random and the message still depends on the key. We show that it is possible to achieve KDM security in this setting. Our solution to this problem is a scheme, RHD, randomized hashed and encrypt. RHD actually is not a standalone scheme. It's a transform. It takes a normal authenticated encryption scheme and transforms it into one which is secure in the setting. And it's a very lightweight, simple transform. It has minimal computational overhead and we show that there are no extra elements being added to the ciphertext so the overhead in bandwidth is also zero. It can be thought of as some sort of a software patch that can be applied to a system to make it KDM secure. And we show that RHD is secure in the monocle model. Okay? So in the rest of the talk, I'll be focusing more on the results that I just mentioned, the two attacks on the RHD. So to look at these attacks, I should first define KDM security and before I do that, let's just quickly recall authenticated encryption security. In fact, one of our contributions in this paper is to come up with a simple novel authentication encryption security definition. But I won't go into that in the detail here. I'll just look at this from a very high level so that we can make sense of that attack that we'll describe later. So when we want to describe the security of a scheme, we think of a game between a challenger and an adversary. And in the beginning of the game, the challenger chooses a random bit B and a key K. This is authenticated encryption security so the adversary can make both encryption and non-securities. So when the adversary makes an encryption query, depending on whether this B was chosen to be one or zero, the challenger is going to reply either with real encryptions or random bits. There is one thing to note here of interest. That is, if we are talking about universal non-security, the adversary gets to provide the nonce that will be used for encryption. But if you're talking about random non-security, this is not allowed. The challenger will choose its own nonces randomly. This will play an important role in the attack. Other than that, that adversary can make decryption queries. And if the decryption query corresponds to a valid ciphertext, then the adversary will get back a one, otherwise it will get a zero. This is if the bit B is one. If bit B is zero, then adversary will always get invalid decryption. The aim of the adversary is to find this bit B. If we talk about KDM security, the basic structure of the game remains the same. The only difference is that now encryption queries, rather than taking a message as argument, now have a description of a function, a message-deriving function, phi. And the challenger will evaluate this phi on the key to get the message. Everything else remains the same. Okay, so now let's look at the first attack. Recall that what we're saying here is if the authenticated encryption scheme does not get random nonces, but gets nonces from some arbitrary non-repeating source, then it's not possible to have KDM security. The starting point of our attack is an earlier attack that was presented by BlackRock and Strimton, and their attack was on stateful encryption schemes. So before we dive into the attack, let me just give a high-level idea of what's going on here. The adversary, if you're in the universal non-setting, the adversary gets to provide the nonce. We saw this earlier. So one of the strategies of the adversary could be to embed this nonce in the message-deriving function phi. Recall that phi is evaluated by the challenger on the key. So phi knows both the nonce and the key. In other words, phi can simulate the encryption of random messages. So here's a high-level idea of what adversary could do. The aim of the adversary here is to get just one bit of the key, K of one. And what it's going to do is choose a random nonce, an arbitrary nonce, and another random string S, and embed them both as part of phi's description. And phi's job is to... phi knows the key. Phi is going to be evaluated on the key. So phi's job is to somehow find K one and communicate it back to the adversary. So how can phi do this? The only thing phi can do is output a message, and this message will subsequently get encrypted, and ciphertext will be given to the adversary. So phi does this following thing. Phi just randomly, arbitrarily chooses different messages, tries encrypting them, and checks if the dot product of S and the ciphertext is the same as the bit of the key. Once phi finds such a message, it stops and outputs this message. The challenger now takes this message and encrypts it and gets the same ciphertext that phi got and returns the ciphertext to the adversary. What can the adversary do? It already knows S. It knows that dot write of S and this ciphertext is the same as the first bit of the key. So it can just recover that bit. In fact, the adversary can repeat this for all the bits of the key and recover the key completely. This attack seems to work, but there's one problem. We don't know how long evaluating this, I mean, how long phi will run for. We don't know when phi will find such an M that satisfies the property. So we can fix this. It's easy to fix. The only thing to do is to make sure that phi stops eventually when it realizes that it has gone for too long. So we do this by, you know, putting a bound on the running time of phi, saying that it can only try L times. But L is a parameter that we provide to the adversary. If phi does not find a required message within L times, it's going to just output some arbitrary message. And instead of a dot product, we are now going to look at a family of power independent hash functions. So we can show that this works. I'll not go into the details. We can show that if we choose L to be comparable to the number of bits in the key, it covers the key with a high probability. So let's start for a second and see what we have done here. So this attack is somewhat serious because we are not just distinguishing between b equal to 0 and b equal to 1. We're actually recovering the key. And maybe this attack is artificial, but it still rules out the possibility of getting schemes that are secure with universal answers. We have a similar attack in the paper that shows how in the presence of key-dependent headers, it's not possible to get security. But I'll skip that attack here in test of time. So what do these mean? What do these two negative results mean for us? And we go back to the table of variants that we started off with. We see that whenever we have universal answers, it's no longer possible to get security. And similarly, whenever we have key-dependent headers, again, it is not possible to get security. So the most important takeaway is that standardized schemes require universal answers and we can't get KDM security in these settings. This is rather sad. So what is left to do? The only variant where we can still hope to get secure schemes is with random answers, key-independent headers, and key-dependent messages. And we show that this can be achieved by our scheme, randomized hash and encrypt. So our scheme is actually a transform. It takes an existing authenticated encryption scheme and converts it into a scheme that is secure in the setting we saw earlier. And internally, it uses a hash function. So this is what it looks like. If you look at the new encryption scheme, it takes in a key L, a non-SAR, a header H, and a message M. And from this key L and the non-SAR, it generates a new temporary key K. This is interesting because every time the encryption routine is called, a new key will be generated. And this new key is what is going to be used for encryption. It will be fed to the encryption routine along with the header and the message. Decryption proceeds in a natural manner. Assuming this works, it's easy to validate all the properties we claimed earlier. Minimal computational overhead because the only extra thing we are doing here is making a call to a cryptographic hash function like SHA-1. And these things are notoriously fast in practice. And we ran experiments with CCM for the base authenticated encryption scheme and SHA-1 for the hash function. We found that the overhead due to this whole process was less than 1% when the message was 50 kb or larger. And zero bandwidth overhead because anyway, for authenticated encryption schemes, we need a nonce. And the only thing we are doing here is using the nonce in a different manner. Instead of feeding it to the encryption scheme, we are using the nonce to generate a key. Similarly, simple software changes. A patch that makes a call to a random molecule before actually running the encryption routine. Okay? So that brings me to the end of my talk. Thank you. We have some time for questions. No questions, so let's thank the speaker.


Welcome to Monet Café and my patrons on my Patreon page. I'm artist Susan Jenkins and this is a lesson on value, taking your art to the next level. That might sound like a bold claim, but it truly is the fact that color often gets the glory. But value does the work and is so important for good art. Now I stress value all the time in my videos and I have some videos on the importance of value, but this is a very in-depth video at the request of my patrons and there's going to be a little teaser because part two to this is me literally painting in the dark. It's fascinating. So stay tuned for another video on that. But I want to thank my patrons for this video. They did a poll and requested, they had a choice of like four different topics and they chose the importance of value. So this lesson is the most in-depth lesson on value I've ever done. So thank my patrons. They will get the full extended version of this video, but don't worry Monet Café fans and subscribers, you're gonna get some great content right here as well. Welcome artistic friends to Monet Café. I'm artist Susan Jenkins and today's lesson is going to be on value. Now I know I've done a lot of videos on the importance of value in painting and I guess the reason I've done it a lot is because it is that important. But this particular time is because my patrons on my patreon page patreon.com Susan Jenkins suggested requested this particular video to focus very heavily on value. I gave them a poll to choose what my next lesson would be and I would say the majority of the people voted for a lesson on value and I really want to break it down because I talk about it a lot while I paint but I'd like to give you a little bit more of the science behind value and kind of some of the optical illusions of value and how you can make that work while you're painting or to create stronger more beautiful artwork and also join me too. This will be limited on the Monet Café channel, the YouTube channel. We'll have limited content. The full content will be for my patrons because they requested this and it's just a little something special I can do for my patrons but Monet Café YouTube channel will get some great content as well. What I'm going to be doing I have wanted actually I've wanted to do this for a while. I've actually done it. It wasn't that long ago where I literally created a painting in the dark. Okay not totally pitch black but I had incredibly dim lighting. It was nighttime and I came in and I had some pastels laid out already and I wanted to paint and I knew I had done it before but not as dark as I did at this one time and I knew that that's one of the best ways to see value instead of color. It kind of cancels out the color. I'll be talking more about why that's important and I'll also be creating the painting in the dark. I'm going to take my I'll probably do it at night in here but if it's not dark enough I have another room I'm literally going to take my easel into and record myself painting in the dark and the neat thing is you get really exciting results because you're not focused on color you're focused on value which is the most important thing. They always say value is king but color gets the glory. So let's have fun with this lesson and we're going to learn a whole lot about value and hopefully you will learn a lot and it'll make your artwork even better. All right let's do it. All right I've zoomed in here so you can see things better and oh by the way I'm wearing my Monet Café designers artist series. It's called Bracelet with the little Monet Café charm. This one is the Monet Café style. There are three styles and I just love it so if you want one I'll provide a link at the end of this video or within the description section of the video. They're so fun they kind of go with everything. All right so in talking about value this is a nice little tool. It's really inexpensive. I think you can get it on most of the art stores or online options and it's called a grayscale and value finder and it's a great tool especially when you're first getting started in helping you to see value because sometimes some of those middle values can get kind of hard to see. It's got these neat little keys they're called in here. There's multiple reasons for this and then being called keys that I'll talk about in a minute that sometimes when you have a color, color sometimes is distracting you're like oh what value is this? Well we we know it's not totally white on this side of the value and we know it's not totally dark but where where where does it fit into these values. So I'm going to give you some tricks of finding that but these little keys are a good way to just kind of hold it up and also to hold it up to your reference image or photo. It's nice that you can just isolate it like that. So that is a very helpful tool. Now let me explain this scale and how it is organized. I was under the misconception and I think as any novice artist would be that there are ten, one, two, three, four, five, six, seven, eight, nine, ten values or gradations of value and wouldn't you normally think that one would be white and ten would be the darkest? No no no that's not the way it is with the value scale. Ten is called value one because it's a hundred percent black okay and now is there really ever a hundred percent black okay value is relative we're going to be talking about that too. So on this in relation to this scale it's the darkest one value two three four five and all the way up to value ten that is why I will talk about it's not the focus of this video but I will talk a little bit about high key paintings again the little keys okay these are called keys and so the higher keys are these higher numbers high key paintings are usually your lighter values okay if you've ever heard that term that's why. Alright so this is our handy-dandy little tool very helpful but as I was saying value is relative what do I mean by that? Well let's take an example and find out this is going to be a neat way for you to see what I mean I say this expression all the time when I'm painting value is relative and color is also relative that will be another video but these are fun kind of things I love the science of color and some of these optical illusions and I know you guys do too because my patrons I've shared some little color tests and you guys always respond so well to those color tests they're fun right and and it is really kind of like an illusion of the eyes so let's let's show how that works all right I've got three pieces of paper here this one happens to be just copy paper okay so it doesn't really matter these two are drawing paper so we've got a light okay we would call that a high key it'd be the whitest white in the scale then we've got a middle value that's probably more like this value six right here and then we've got a high key I mean I'm sorry a low key value value one black okay closest to black so let's take a look at what I mean by value is relative let's take okay I'm gonna show you some pastels now and I'll show you a picture too because I can't hold them up so good here like this and I am also going to be showing you a picture of the same pastels converted to a black and white image okay we'll use that later we'll talk about that later but it is a really great little tip I wanted to recommend it now in seeing value if you're new with painting and you're having a hard time like I said some of these middle values get kind of hard to tell where they fall in the value scale converting your pastels take a picture of your pastels convert it to black and white and you can you're not as distracted by the color and you can more easily see what value they are by the way I you know I've been assuming what value is it is basically the lightness or darkness of a hue a color and so I think that was pretty obvious but alright so let's take one of these I've put the black is black that I could find in my pastel palette on the top here I've put the whitest white I could find I think that's like probably a true white according to the pastels that I have have you ever noticed that when buying paint colors like for walls or ceilings you say I want white well there's a million different whites okay so again it's all relative and and there really isn't a true black or a true white it's just based on what it's surrounding so we're also going to be looking at these values that I've selected in the middle I purposely chose ones that are a little more neutral okay a little more calmed down in color so to speak I didn't want color to be so distracting probably the boldest in color of all of these is probably going to be that one right there this green's pretty pretty saturated with color not too bad though okay so I thought that'd be better than being distracted by color so what I'm going to do here other than the black and white see if you can find in this middle that middle range of pastels here in the middle of my little tray see if you can find I'll show the picture again I'm going to show it in color if you can find the darkest value I think you'll probably pretty easily and pretty quickly identify the darkest value is this here now I'm not sure about your computer monitor because sometimes that changes things but it may look black but it's actually a green okay can you see that I've got a pretty decent light to show here so it's actually a pretty dark green all right so let's see is let's see how dark this is how dark is this value well let's go ahead and let's just put a little sample of it right up here on the wife wow it's dark right look how dark that is man it almost looks black on that paper doesn't it you guys are probably already figuring out where I'm headed all right let's take a look at it on the middle value all right isn't that funny how all of a sudden if we could just zoom in and I think I will all right now look at that all of a sudden it doesn't look quite as black well let me if you can't tell that now let me go over here look can you see the difference that one is so high contrast and contrast just so you know it's just where light and dark meet okay you see the same color on the white looks much darker than on the gray all right now let me zoom back out a little bit and now let's do it on the darkest color that I have up here all right same pastel and let's just do that over here now this is what I was discovering especially when working this is black drawing paper and I've been doing some paintings on black drawing paper and it's really I stay in front so my voice doesn't change in the video it's really quite a great exercise in value in understanding how value is relative all of a sudden this is not doesn't appear black or even dark anymore correct let me zoom into this one all right I actually pulled this off so that you could see it better and my lighting makes it a little difficult so but can you see now that all of a sudden it doesn't look that there's a better angle of it right there with the light shining on it can you see how all of a sudden that doesn't look dark anymore again compare it to the swatches that are up here so value is relative or dependent on what is surrounding it or what it surrounds now let's play around a little bit more with these examples in the same little set of pastels let's see other than the lightest light that I have and the darkest dark surrounding them let's see if you can find which one in these middle pastels is the lightest value without me desaturating it or taking the color away I would say you probably would choose between these two right here the lavender kind of in this minty green but actually if you convert it to black and white you can see that this one is other than the white is the lightest value of the choices all right let's take a look at this pastel which is a Terry Ludwig pastel it's actually one that dropped one time it didn't get too bad damage but it's a little bit of damage there all right we're obviously getting the hang of this and know that whoa that is a light value right so we've got a really light value this could actually serve as your lightest light on this if you on this black surface if you were doing a painting on a dark surface because it reads as light so easily and on this middle value drawing paper let's take a look at it we can kind of see when I put it up here it's similar to the same value of the paper it's perhaps a little bit lighter than the paper now look how I'm gonna look through my viewfinder to see the difference of its shows look at the difference of how it shows up on the black versus the middle value paper here all right now again you probably already know when we put it on the lighter paper it's going to appear dark all of a sudden can you see the difference it's dark on the white surface but light on the dark surface I hope that this little example that I'm doing is showing what I mean about value being relative a color and a value is not really determined until you put it on something or surround it with something all right let's do let's just do another one here I'm gonna take kind of this dull green here this is almost the color of this paper so let's just start with that right there okay this is a night I really like this color okay it's a little bit darker in value than the paper and now let's take it and put it on the white okay it appears like a pretty medium darker value on the white and then let's take it and put it on the dark again a very very light value so let's get let's go even we did our darkest darker the middle values and we did our lightest light let's go ahead and do the black and the white the highest in the range of pastels that I had all right we're gonna take the black I'm gonna put the black let's go since we did the darkest over here I'm gonna put the black here obviously that's a little darker than the screen what might not be obvious from the screen you're looking at but it is a little darker than that green I put down we're gonna put the black here again pretty dark but it doesn't especially with my actual vision looking at it you know not through my camera it is it appears much darker here than it does here now let's take it and put it over here let me make sure that's in the camera yes let's put it next to here it might not be in the camera actually and again you may not be able to see I'm gonna zoom out a little bit oh yeah you can you can see it actually it is darker than the paper so the drawing paper that I'm using is black but it's not as black as this pastel all right so pretty interesting now let's take the actual white pastel and I'm gonna put it on this side here let me see how that reads on the camera can't even see it really yeah same thing I can kind of see it's it's showing up a bit brighter than the paper but let's do it here I think this is a Jack Richardson a lot pastel sets don't even come with a pure white but this particular set did okay do you see that right there it appears obviously the lightest thing on this paper let's look at the the white on this one wow look at that white pops again high contrast here no contrast here again to contrast is something that we want to keep in mind when we're painting that is something as artists that we have the power to choose where someone's eye goes with the contrast in the painting and we want to keep that minimized or reserved for the parts of our painting that we find or want to be the most dramatic or impactful find out what the reference photo or the image is what you find moved you about it make that the focus and then have everything else more low contrast in the painting and I thought contrast was important to talk about because we're talking about value and value high contrast is where light and dark meet now in your particular painting you may not have a range from this is probably the easiest one to see here from white to black as a matter of fact it is a good idea to not use the entire value range when creating a painting now let me add just a few more of these middle values in here just so you can get an idea I didn't get these in order unfortunately but here's an example of kind of this pretty sagey kind of more of a cooler green it appears as light on the black surface it appears as darker to middle value here and it's going to appear quite dark here isn't that interesting and I hope this is really going to help you when you're painting to get an idea of a color isn't really dark just because you pick it up and look at it you know you might look at that and go oh that's kind of a darker value or you might compare it to what other pastels it's laying around be sure you don't do that you're comparing it to whatever surface you're working on and you may even tone your surface you know if you've seen my videos I don't like working on white unless I'm doing a watercolor under painting and so it's going to be dependent on what you've toned your surface it's also going to be dependent on what you've already laid down so you don't just grab a dark value I think that's probably one of the mistakes as early artists is we see something in our reference image that's dark and all of a sudden we think oh grab my darkest dart or use like the maybe the roots down near the bottom of a tree or not the roots the base of a tree or deep grasses and you grab almost a black and then for the sky you grab your lightest light for the sky now let me share a little bit about why that's not the best way to paint well first of all let me just describe what is contrast contrast is basically the difference between the blacks and the whites and high contrast means your blacks are really really dark and your whites are really really white or your lights are really really light high contrast would be the two opposite ends of the value scale this is high contrast you notice that in the way the value scales laid out it makes a little easier to see that let's come down to value 5 and 6 do you see how the contrast is not that stark or not that dramatic and that would be a low contrast type of painting if you painted more with those middle values instead of high contrast high contrast paintings if you paint all high contrast everywhere your painting can get too busy and too much going on everywhere but at the same time again contrast is relative to what you choose what value scale you choose in your painting I'm gonna talk about that in just a second but I would recommend not choosing the extremes for your painting unless you're just really trying to create something very high contrast for dramatic influence however mostly in our landscape paintings and I'd say the people that are typically on Monet cafe and we like a little bit more of that subtlety and beauty that we see in nature inherently you don't usually see a lot of high contrast unless the lighting is just right on a particular day alright so let me share with you what I meant about some examples of the different keys that you can paint in this and I'm gonna pull up the image on the computer would be the first one number one the full value range you're using a value scale like I just said it's not a good idea of the entire gamut of your pastels you're using your whitest white and your darkest dark and any kind of value in between basically you're gonna have too much going on and it's just a just too big of a range for you to have a more of a true impact or subtlety to your work it's just going to be a little bit too crazy now low key range would be what I was saying before low key let me hold up the value scale again if high key is here okay a high key painting and I'm going to show you some examples of that low key painting would be here okay there are the lower numbers value 1 2 3 again it seems a little backwards kind of like if you know anything about photography the aperture setting always seems backwards the larger number is the smaller hole of the aperture and vice versa so low key painting is going to be these lower keys darker okay a high key paintings going to be these so a low key range is more of this example number two a high key range is example number three now let me show you some paintings that I think are fabulous in the high key range and wouldn't you know it none other than our Monet that our group is named after he has some of the most beautiful high key paintings now with a high key painting one thing that I think is beautiful about that and again I don't want to make this video this is on value but it's all about value here it's not about high and low key paintings I want to do another video that focuses more on how to do those but it's worth mentioning here that when you paint in high key the focus obviously doesn't become contrast as much because we don't have as much contrast going on the the values are closer together we don't have a large scale of contrast so what we do as artists it color becomes more important and color becomes the star and the play between colors and the harmony between colors as Monet has so beautifully represented in many of his high key paintings I'm very drawn to high key art I think it's absolutely beautiful now this is the middle value range example well it says number three here it's actually number four the middle value range so we're not going to the whitest white we're not going to the darkest dark and I would say most of your artwork is going to be better you you might add one more on each end or one more you know choosing on which side instead of one two three four five of these middle you may have six and choose you know which side you want to add to but I say a painting is more natural feeling that's the word I've been trying to find it feels more representative of nature to be more in those middle range values and not have the full value range also to I just think it's easier on the eyes and it keeps our eyes from flitting around all over the place now one thing I will say with regards to value and contrast you want to reserve your areas of contrast for your focal points because if you have high contrast or contrast you don't have to say high contrast again we don't want to use the whole value scale or the the extremes the black and the white but if you use a middle value scale for example this one here your areas of high contrast would be this juxtaposed to this so you're going to be using those where you want the center central focus of whatever your subject matter is and the rest of the painting should be more mid values the best art that I've seen or the ones that I'm more drawn to are ones that don't have so much going on with contrast and many middle values more and neutral colors and then preserving your high contrast and your more intense colors for your focal points okay now let's do another little example of an actual little landscape to get an idea this is the end of the content for Monet cafe YouTube channel and this is the portion where my patrons are getting the full version but I am going to go ahead and speed this up what I did I created three paintings from the same reference image picture of my backyard again and on the three separate colors using the same principles that I spoke about before so I'm going to speed this up a bit for you guys in Monet cafe so you can see what I'm working on and you already had the first part of this lesson so I'll add some music and you guys enjoy and again if you'd like to become a patron and always get the full content of my videos you can do so at patreon.com slash Susan Jenkins it's only $5 a month you can cancel at any time and it's a lot of fun I also have a special private group for my patrons on Facebook and we have contest I'm going to be giving away a Monet cafe artist series bracelet this week and so anyway lots of fun enjoy the rest of this I hope you learned a lot and please watch to the end for the teaser of the next coming video oh that was fun and a lot of information but I hope and pray some great information for you and like I said in one of my post I was hoping you guys would have an aha moment if you were questionable about value and the importance of it in good art so I'm concluding this video now with a teaser this is a photo I took in my backyard yesterday and this morning I got up early to do a painting in the dark that is one of the greatest way these are the pastels that I sat beside me to choose from one of the greatest way to see values to turn the lights out so I turned the light out in my on my big lamp that I use and in my studio and it was dark I even turned my iPad off it was oh and now you can see all of a sudden you can see value better now my camera compensates for the dark so you're actually seeing more in this recording than I saw it was darker than it appears here so I was pretty close to painting in the dark just super low lighting and I am excited to bring you the video I did the original part of the painting in just 15 minutes I wanted to limit myself it's on a piece of pastel matte and I worked quickly and just grabbed color according to value I could not see the color and it has some pretty interesting results that I was very pleased with so get ready for part two to learning about value literally painting in the dark so until then practice these techniques on value please subscribe to this channel if you haven't already liked this video comment I love to get your comments also if you'd like to become a patron to get the full content of all of my videos you can do so at this clickable link at the end of the video and get yourself a Monet cafe artist series bracelet in the link in the description of this video all right artist happy and blessed painting


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What is going on guys welcome back to the channel and I appreciate you being here today I bring this destiny to a top five three count reactions to epic loot and epic plays Now if you do enjoy the video leaving a like really does help me and my channel out And if you have anything amazing to send in as per usual send it into the email address linked within the top of the Video description for a chance to be featured, but I hope you enjoyed the video and hopefully people I will see you on that next one Let's go Yes, yes, let's go. Let's go Let's go.   I can't imagine the future. Hey, Zavala. Hi doing retard I Didn't have the freaking GP J bro. Oh my god, I got it. Oh my god


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