M4 CHAPTER 12: STUDY THREE ARTISTS

1. CAS HOLMES

Cas Holmes works with textiles, paper and mark-making materials to produce mixed media collages embellished with stitch. She is well known for using "found objects" - discarded items or waste materials considered no longer useful and transforming them into meaningful artworks. She states that: "Using recycled and vintage fabrics and found materials creates a sense of age or atmosphere conveying a past history." Her themes mainly relate to elements of the natural and built world. Drawing and the use of colour are the foundation of her work, using her sketch book like a diary. She has described her stitching as often being "stitch sketching" with a narrative quality. Cas studies the links between nature and the urban environment and by re-cycling objects, her work encourages sustainable living. She often layers papers and fabrics in her pieces, some translucent, but then may cut away some layers to reveal what is underneath.

Cas is about to visit Australia for a series of workshops. The images below from the Australian FibreArts website (http://fibrearts.jigsy.com/holmes) advertising these classes illustrate her style and approach.

Relevance to my work: The layering of items and combinations of paper and textiles appeal to me. The piece on the right has an interesting combination of items, including some paper with writing on it, but it is the band of red colour, rather than the writing itself which draws the eye to the work. The stitching is very integrated into the work, rather than being a feature. Cas introduced me to the technique of Momigami at the Distant Stitch Summer School in 2008. This was the first time I had considered using paper and fabric in combination. I was able to utilise the crushed paper technique in my final piece for Module 1 and was delighted with the result.

References

Cas Holmes' website: http://www.casholmes.textilearts.net

Cas Holmes: "The Found Object in Textile Art", 2010.

Jenny Whisker, Interview with Cas Holmes at the Knitting and Stitching Show at Harrowgate: http://vimeo.com/54353849

Axis on-line resource for contemporary art, artist profile Cas Holmes: http://www.axisweb.org/seCVPG.aspx?ARTISTID=6037

2. LOIS WALPOLE

Lois Walpole began making baskets at Art School in the 1970s where she trained in both sculpture and basket making. Her work has evolved since then into designing and making functional objects and art works using the techniques and the forms traditionally associated with baskets. She likes to take colourful every day waste and sustainable materials and transform them into something new, drawing attention to the unexploited potential of the materials. Many of her pieces feature recycled juice cartons, bottle tops, corks, old rope, plastic bottles, wire or packing tape. Some of her designs are quite witty or quirky (for example the ball made from cast off fax parts), encouraging the viewer to see things from a different perspective. For example, the item in the photo on the top left was made from strapping and jar lids, the item in the centre from fruit nets and the one on the right from juice cartons and willow.

Lois believes that basket-making techniques can be relevant to other activities (whether artistic or functional) where the final outcome is a 3-dimensional structure. She encourages people to look for techniques which suit every available natural and found material. She sees value in producing objects that are "sustainable and versatile or use little equipment and free material". Her materials, methods and forms have been described as "imaginative, original and technically innovative". She finds innovative construction solutions through play and making lots of ‘samples’ to learn what the material can do, how to work with it and what can be made from it. As her work has become more well known, people bring her more and more items to recycle - somewhat of a challenge to manage!

Relevance to my work: Whilst I have never done basket-making, I love looking at woven work, including pictures and paintings of woven items, so maybe it is something I will try one day. For the moment, I think that Lois teaches me two things. The first is to try to look at materials around me in a different way, thinking of uses beyond their traditional areas. The second is to do more samples in order to get the best out of my chosen topic or medium, and to keep pushing the boundaries to explore what may be possible.

References

Lois Walpole's website: http://www.loiswalpole.com

Sandy Brown, Resurgence & Ecologist, March/April 2007: "VISUAL JAZZ. Lois Walpole takes innovation to extremes in basket-making." http://www.resurgence.org/magazine/article218-visual-jazz.html

3. INGA HUNTER

Inga Hunter is a mixed media artist working in the Blue Mountains, a few hours' drive west of Sydney. She began her artistic journey in the 1960s, first with weaving and then batik and shibori dyeing. After that she added quilting and embroidery to her skills, then during the 1980s she began making paper and combining it with textiles. About 1974 she began an organisation then called the Batik Association, which has now evolved into the Australian Textile Arts and Surface Design Association (ATASDA). Her work tends to be done in series, depending on the techniques and themes that she is exploring at the time. These have included series of artists books, miniature paper robes and pieces relating to her heritage.

These pictures show two examples of her books. The one on the left entitled "Gridded Book" combines handmade paper, collage, sticks, copper nails, waxed thread, plastic, metal mesh, wire, paint and coptic binding. On the right is "Boat Box" - featuring three books and two baskets. Her most audacious book, not shown here, was a 1-year collaboration with garden snails "Collaborata Mollusca", where she put manilla folders soaked in beer outside and then brought them in the next morning to see what holes and trails the snails had contributed, ultimately making the pages into a book.

Below are a couple of other examples of Inga's work, to show the broad range of items that that she has produced with paper.

On the left is a miniature paper robe from her wonderful series entitled "Robes of the Imperium", an invented world. Each robe, about 30 to 40 cm long, is accompanied by a story about the wearer - this one is the robe of the Head Inquisitor. The techniques used to produce the effects for these robes include rusting, applying wax (encaustic) and use of unusual materials such as sausage skins. On the right is a mixed media work "Structures with Print", comprising a woodblock print with collaged structures made from bamboo and fine paper, gessoed.

Relevance to my work: What I like about Inga Hunter is that she has not constrained herself to work with one or two materials or techniques. She combines whatever is required to get the effect she wants for a particular piece: paper, textiles, printing, dyeing, waxing, etching, drawing, painting, beading. She has taught herself many of these techniques, through experimentation, and selected courses. She didn't do a drawing class till she was 50, when she decided that she needed to learn how to do it properly. She has tried, and now promotes, the idea of drawing regularly, keeping a small sketchbook with her on her travels, but like me, struggles to make it a daily habit.

Inga draws on all of her experiences and combines her chosen techniques in new ways to express her ideas in an imaginative manner. I think this philosophy fits well with the type of work that I am trying to produce in my City & Guilds course - minimal boundaries, just draw on your tool box and experiment! She has opened my eyes to a much wider range of possibilities for working with paper than I had ever imagined.

Inga Hunter's website: http://www.ingahunter.com.au/

Robb Street Gallery: http://www.thersg.com.au/rsg_touring/hbascatalog.php, Inga Hunter's Kite Book

Inga Hunter: " Something Different - A Drawing a Day .... Revisited." Textile Fibre Forum 28: Issue 4, 8 (2009).

Inga Hunter: " How I Did It: On Rusting and Encaustics - Making Two New Works of the Imperium." Textile Fibre Forum 29: Issue 1, 14 (2010).

Inga Hunter: " Something Different - How I Did It: Using Gut and the Robes of the Imperium." Textile Fibre Forum 29: Issue 2, 17 (2009).

M4 CHAPTER 10 : BOOK-TYPE STRUCTURES

In this section I have experimented with several methods for constructing books, ranging from simple folded items, to more elaborate stitched covers. I started working with ink-washed cartridge paper, and then moved on to some constructions using hand made silk paper.

I really enjoyed this section and had to consciously decide to move on or else I would still be making books for months!

10.1 Pamphlet-style Books

These books are constructed by nesting pages inside each other then stitching/lacing the whole bundle together. The most basic form uses 3 holes, but 5 or 7 holes may be used for larger items. Each group of nested pages is called a signature.

Sample 1 shows a very simple notebook, where the ends of the thread have been tied to form a small tassel decorated with a long rolled paper bead I bought in South Africa.

Three lots of nested paper were used in Sample 2, with a different paper cover on the outside. The centre of the cover was pleated and one signature was placed into each fold. Each group was sewn in place with two strands of cotton thread, then all of the tails were gathered up and tied into a bow at the back to finish off the book.

Sample 3 was constructed similarly to Sample 1. However the pages were cut from a collaged A3  page of paper that I had made some time ago. These pages were cut, folded and assembled to give an interesting effect, with the back and front pages appearing to merge because of the folding. The pamphlet was stitched with 3 different coloured threads, then these were plaited and twisted to produce the decorative loop on the spine.

10.2 Stitched Books

These pictures show two approaches to holding the signatures together and attaching them to a cover.

In Sample 4, a Japanese Stab Binding  technique was used. The covers are entirely separate and a similar size to the interior pages.  The cover shape was cut from mount board; the back side is a single piece of board and the front cover is cut into 2 pieces to create a hinge so the book can be opened. The book is assembled and held firmly together with clamps or large bulldog clips. Holes are poked through all layers and then the thread is passed through all layers making the selected pattern. I used an awl to poke the holes, but later found a set of graduated nails which might be useful in future.

Sample 5 uses stitching with a ribbon  tape to hold everything together. I only used 3  signatures in my sample, but you can join many more to give a much thicker book. Each signature is held together using pamphlet stitch, and then the 3 have been stitched together top and bottom with the thicker green thread over the red ribbon. The ribbon is then attached to the covers. The covers,  made with mount board, are a few mm larger than the inside pages. In this case I chose to carry the ribbon right across the from the front cover to the back cover and glue it on the inside, but you can also  finish the tape part way across each cover to give a different decorative effect. The front page of the first signature and the back page of the last signature are glued to the inside of each cover to finish the book.

10.3 Folded Books

There are many ways of folding pages to create books. I experimented with 3 styles here.

Sample 6 is the simplest – made from an A4 sheet by simply cutting and folding the paper so that the centre panels bulge out. The final shape could make a good display item, depending on the content.

Sample 7 began as a 24cm X 24 cm square, folded and cut as shown below. Mount board covers and ribbons were added to back of the middle squares of rows 2 & 3, so that when all the sides were folded in, the book covers emerged on the outside.

 

Sample 8 began as a long rectangular strip of paper which was folded to give a concertina of triangles. The covers were made of foam core board covered with fabric. Ribbon was attached in such a way that it could be wound around in a figure of 8 and tied to hold the book in place.

10.4 Silk Paper Books

The silk paper has an elegant but informal appearance and is better suited to less formal book styles.  I tried out a few different options to get the feel of working with silk paper and to start the thought process for my assessment piece.

Sample 13, “book in a sack”,  combines cartridge paper and silk paper. The folded book was made by folding and cutting an A4 sheet of cartridge paper  so that there were 4 rows of panels, with cuts across 3 squares on alternating sides.  This allowed the panels to bend back on each other, giving the pages a tumbling appearance when the book was removed from the sack. Folding and cutting the silk paper would have been less effective because it is not stiff enough. However I made a little silk paper bag to slide the folded book inside and keep it together. The edges of the sack and the joins were sewn with a loopy buttonhole stitch.  I thought this concept worked quite well and I liked it as a finished item.

For the next sample (14), I experimented with a wallet type of structure , where the pamphlet cover  had a section folded up at the bottom to form a pocket that items could be slid into for storage. Then I stitched some pages, pamphlet style, into the fold on the right. When the wallet is folded over, as in the top photo, it has an attractive envelope style appearance. The edges were decorated with a row of random free-machine stitching. This had the added benefit of holding the folded section in place at the sides.  I added a bead and embroidered loop to finish off the front. Overall I was pleased with this sample and think it has possibilities for development for my assessment piece. However it may be unnecessary to sew in the pages. Another alternative, which could be interesting, would be to slide them into the pocket as loose leaves.

 

In sample 15, I joined the pages of the book together with Japanese stab stitching, this time using tortoise-shell stitch. The covers were made with 2 layers of silk paper, stiffened with pelmet Vilene in the middle. The white Vilene was washed with green ink to that it blended with the silk paper. I thought this worked only moderately well, and this style of book is probably better suited to standard paper with cardboard covers.

For sample 16 I experimented with a concertina-style construction. First three separate panels (pages) were made  by gluing two layers of silk paper to a pelmet Vilene insert (with a red ink wash). These panels were then laced together over a twig found in my neighbourhood. The holes were made first with a needle before stitching.  I decorated the edges of one panel with a loopy chain stitch. I thought this structure also worked well with the silk paper and could definitely be developed for a more elaborate piece.

The big decision now is which way to go for my assessment piece. I think something based on samples 14 or 16 would work best.  At the moment I am leaning towards the wallet with a pocket and some loose leaf pages.

Reference Shereen La Plantz "Cover to Cover", Lark Books, New York, 1998. Acknowledgement Thanks to my good friend Judy Muller who inspired me by sharing her experiments in book-making with me.

ADDENDUM TO CHAPTER 9

More Stitched Edges on Silk Paper

Sian suggested that I try to work more imaginatively with the edges of the silk paper, trying to reflect the wispiness and swirling character of the fibres. The following photos show 4 additional samples. These were worked on the edges of some of the book structures which will be dealt with in Chapter 10. The focus here is just on the edge treatments.

Overall I feel that these samples are more successful than the first ones that I did. This was partly because I didn’t fully understand the intent first time round, but this is much clearer now.

Sample W was worked in a very loose buttonhole stitch in two colours, allowing the ragged edges of the  paper to show through.

Sample X shows a loopy version of chain stitch worked in two colours. The stitches were worked on alternating sides of the paper, so that loops appeared on the “front” and “back” of the page.

Sample Y shows a row of pink free machine embroidery wandering randomly along the folded page, a little inside the edge of the paper. The irregular jagged line echoes the irregular edge of the silk paper but blends in nicely with the overall effect.

In Sample Z I experimented with irregularly placed beads and stitches, forming an uneven border around the unbound sides of the page.

M 4, CHAPTER 9: STITCHERY INTO PAPER

I did a few samples using paper made from paper pulp, then quickly moved on to silk paper as this is my preferred medium. I also experimented with edge treatments on both types of paper.

9.1 Paper made with Paper Pulp

A light fabric was stuck to the back of the the handmade paper before it was stitched, using spray adhesive .  Sample 1 shows hand and machine stitching worked into Sinamay hat mesh embedded into the paper. The letters A & J have been worked into the central area in an irregular manner and the zig-zag stitching around the edge was chosen to echo the shapes of the letters.

Sample 2 was more pleasing. The lime green hand stitching on the edges of  the central panel was intended to echo and extend the lines of “writing” in the centre. The loopy machined border was intended to suggest flowers encircling the lettering.

9.2 Silk Paper

The fabric embedded into sample 4 was of a heavier weight than the ones used in sample 3. Hence I tried to achieve a finer, more delicate look with sample 3 and used heavier stitching in sample 4. In sample 3,  fine running stitch was worked into the paper to represent small blocks of text like those seen in a newspaper or magazine. The needle weaving and the stitches worked over the withdrawn threads also helped to give a lacy look.

Thicker thread was used for the running stitch in sample 4 and the stitching on the silk paper was continued into the fabric to try to unify the overall appearance. The running stitch and the zig-zag shape of the bands of needle weaving was intended to suggest the letter A.

Sample 5 had stitches worked over the hat veiling attached to the silk paper. I started by extending the criss-cross pattern of the veiling by machining a diamond pattern over the silk paper. I then worked rows of fly stitch over the veiling  and  used a loose type of back stitch, with beads incorporated, to draw up the paper into loose folds. Overall the final result was quite interesting, even though it started with veiling that had not stuck to the silk paper very well.

I decided to incorporate more writing into sample 6. I used a piece of raised stitching of the word ‘rose’ as a template. This was laid under the silk paper and the top side was rubbed with a lime green oil pastel so that the word was revealed. The template was moved around randomly to apply the words. The surface of the paper was then painted with Modge Podge gloss medium to prevent the pastel from rubbing off. I then stitched each letter with running stitch and  added some large letters by machine. The centre panel was embedded Sinamay hat fabric. I wound some pink crochet yarn around various parts of the grid to give  an irregular pattern suggestive of a rose.

Sample 20 was painted with diluted acrylic gloss medium before stitching, because it was starting to fray. I probably could have just added more textile medium. The embedded lacy areas were embellished with Smyrna crosses in various shades of pink, to echo the lacy network underneath. The background was machined in a meandering pattern in 2 shades of green. This was reminiscent of doodling on paper.

9.3  Created Grids

I liked the effects I obtained with these samples.

Sample 7 resulted from the wound threads and ribbon described in the previous chapter. Whilst the dried paper mesh looked good, I found that lumps tended to flake off, which made it impossible to use. So I painted the  paper mesh with acrylic gloss medium to try to stabilise it. This worked  well, so I then added the large purple fly stitches over the top. I felt that there was enough embellishment at this point, so didn’t add any other stitching as I think the piece would have become too busy with more.

This sample started with paper adhered to a stitched design on a mesh bag. Again I found that the paper tended to fall off so I painted the item with acrylic medium to stabilise it. I then glued a piece of pink fabric to the back to add depth where there were holes in the paper. Finally I added a swirl of pink backstitching, following the lines of the green thread embedded into the paper, and the word “rose” vertically on the right hand side.

9.4 Stitched Edges – Handmade Paper

I discovered very quickly that stitching around the edges of the handmade paper was fraught with difficulties unless I stabilized the edge with a fabric border. I did not want to use a full fabric backing as there are many situations where you do not want the back covered up. For example, samples 9 & 10 were reasonably successful because there was a firm border around the edge. In sample 9 the flat fabric yarn was machined to the front of the card and in sample 10, fabric was folded over the edge and machined in place. However, the attempts to machine a woollen cord border (samples 11 & 12) resulted in crumbling edges and tearing of the paper , although I used a cording foot on the machine. In Sample 12, I tried using a tearaway backing, but encountered problems when I tried to remove it at the end.

After some experimentation with hand stitching, I found that I got the best results if I poked the holes in the paper first, either by machining a row with an unthreaded sewing machine set at the longest stitch length, or pressing a sharp pin or needle vertically into the card . Sample 13 shows a green blanket stitch worked into pre-made holes, supplemented by a red machine stitched row. Sample 14 shows experiments with incorporating beads into the stitches. However the edges still tended to crumble if the paper was not strong or I got too close to the edge. Sample 21 was a little more successful. Here I painted the paper with dilute acrylic gloss medium and poked holes with a needle before adding the stitches.

9.5 Stitched Edges – Silk Paper

As silk paper is less prone to tearing and crumbling, it is easier to apply edges either by hand or sewing machine. However the attractive wispy nature of the natural edges tends to be lost if this is done.

Samples 15 & 16 show various hand worked borders. In sample 15, clockwise from the top, the stitches are sheaf stitch, a rolled edge, Pekingese stitch and herringbone worked over a folded edge. The folded edge gave a result that was a bit more solid and could be useful if this effect was desired for a particular piece. In sample 16 blanket stitch was worked loosely in 2 colours to give a less formal effect.

Samples 17 to 19 show machined borders on silk paper. The edges tended to crinkle and catch if the stitching got too close to the edge. Sample 17 shows a border worked about 1cm in, which was fine. The paper could be cut back after  the stitching if desired. Samples 18 show another decorative border – again there was a lot of puckering and catching if I got too close to the edge, so I cut off the excess afterwards. I also tried applying Vlisofix to the  back of the paper and painting it with additional medium, but neither really helped. In contrast, sample 19 was much easier to work because a ribbon was folded over the edge and acted as a stabiliser.  The ribbon was held in place with a decorative machine stitch and then a row of running stitch added by hand inside the ribbon. The ribbon gives a much more formal look to the finished sample.

M4, CHAPTER 8: APPLYING PAPER PULP TO A WOVEN FABRIC GRID

 

In this part of the work I experimented with embedding various types of grids into paper made from paper pulp or from silk fibres.

8.1 Using Paper Pulp

a) Various fabrics

I experimented with fabrics of different weights, ranging from cheesecloth (sample 1) to much heavier even weave linen (sample 2). Threads were withdrawn to make a grid, sometimes leaving the withdrawn threads dangling. These were wrapped in plastic cling film to protect them while the paper was being cast.

I found that the best technique was to lay down a border of paper pulp, then lightly press  the fabric into it and layer more paper pulp over the top. Because the paper is moderately coarse, it can support medium to heavy weight fabrics. Overall, the heavier weight fabric gave the better appearance as it seemed to complement the paper better.

b) Synthetic grids

I also tried embedding several types of synthetic materials which were already formed into grids, such as a plastic mesh (sample 3), Sinamay hat mesh (sample 4) and plastic foam trellis used for protecting fruit.

The Sinamay used in sample 4 was fairly fine and it seemed more suited to being fully embedded in the sheet of pulp. I  also embedded the plastic foam trellis as it was very thick and I could not get a good effect with only a border of paper pulp. However I thought it would be rather limiting to work over with stitching.

c) Wrapped frames

The next sample  shows a wooden frame with satin ribbon and two types of thread wrapped around it. This frame was dipped into the paper pulp and allowed to dry. I have misplaced the photo I took of this after dipping. However the embroidered item developed from it is shown in Chapter 9.

I also stretched a mesh onion bag around a wooden frame, worked into it with some green perle thread to give a rough rose shape, and then dipped this into the paper pulp. Again, I have misplaced the photo of the dipped item, but the embroidered sample is shown in Chapter 9. Both samples were cut from the wooden frames before stitching.

8.2 Using Silk Paper

In contrast to the work with the paper pulp, I found that, on the whole, fine to medium weight fabrics gave a better result with the silk paper, which is more delicate by nature. I found it necessary to lay down a layer or border of silk fibres, then the grid, followed by 2 more layers of silk fibres laid at different angles to effectively trap the meshes. Again, I protected the loose ends of any withdrawn threads with plastic cling wrap, if I wanted to leave them dangling while I made the paper. Sample 8 shows a fine cheesecloth fabric trapped into the silk page and and sample 9 shows a moderately fine linen (partly stitched).

On the other hand, the linen used  in the top part of sample 10 is heavier and looks a bit out of place. I tried to press a layer of fine hat veiling onto the bottom section of this sample . It didn’t adhere very well because I did not put more silk fibres over the top. I split sample 10 into 2 pieces for use in the next chapter. The section with the hat veiling had to be handled carefully and it really needed the added stitching to hold the veiling in place.

Sample 11, with a central panel of Sinamay hat mesh embedded into the silk page, also gave  a pleasing result because it was not too heavy.

In Sample 12 I tried to embed a shape cut out from lacy fabric. This was more successful than the hat veiling because I put some more silk fibres over the top. It may be worth more experimentation with this approach in future.

M4, CHAPTER 7: WRAPPED FRAMES TO MAKE GRIDS

 

In this chapter I created grids of my own, using  a variety of embroidery  threads, ribbons, crochet cotton, and decorative knitting yarns. Some were done on a fixed, flat wooden frame, where the finished piece had to be cut away from the frame (samples 1,2,5 & 6). Others were wound onto the outer section of an embroidery hoop, which could be pulled apart, allowing the threads to be slid off without cutting. I found it relatively easy to create interesting effects with these methods, largely influenced by the choice of threads. There are endless possibilities.

Samples 1 & 2: In these samples the threads were only wound in 1 direction around the frame, and then other threads were woven across them by hand to make a grid. With sample 1, I found that the thin threads I chose gave a nice lacy effect, but the grid tended to collapse because the threads were too fine to hold it firmly in place. Winding the red ribbon diagonally across the piece helped a little. In sample 2, I wove a lot of thicker ribbons, wools and crochet yarns across the base of  vertical red ribbons. This held the grid more firmly and gave a sturdier result.

Sample 3

In this sample I used two tones of stranded cotton (i.e. 2 greens, 2 pinks) and wove them around the embroidery hoop at right angles to each other. I then worked diagonally cross each section with pink and green perle 8 thread, wrapping the bars. I was able to slide the final piece off the hoop, leaving the loops intact. I was pleased with this result.

Sample 4

This sample was created by winding the two types of pink yarn horizontally and vertically, then adding some blue/green wool wound diagonally. The whole lot was then held together by zigzag machining in green, purple and pink across groups of threads in different directions. Again, it was possible to slide the finished piece off the embroidery hoop so that the loops were left intact.

Sample 5

In sample 5 I wove 2 different, reasonably thick yarns horizontally and vertically, making the passes fairly close together. I then anchored the horizontal threads with alternate blocks of blue and green zigzag machining. This gave quite a firm grid to work on.  The letter R was worked by hand in bright pink perle 8 thread by weaving it around the vertical strands. I drew the letter shape on tissue paper first and then stitched over it in a coarse running thread on the grid, pulling the paper away before starting to wind the pink thread around the bars. Again, I think this technique has future possibilities, but next time I would make the letter a bit bolder and the grid a little less firm by spacing out the vertical and horizontal strands.

Sample 6

For this sample the grid was constructed with vertical rows of a fine reddish rayon thread, and then horizontal rows of two green coloured stranded threads, followed by four rows of a green ribbon at the bottom. The grid was secured with patches of zigzag machine stitching in both directions.

I then worked a roughly circular pattern in paler pink over the top, by making long stitches secured by winding the thread under and over strands of the grid. The idea of this was to give an impression of a rose shape. I thought the effect created by the thread and colour variation in the horizontal strips of the grid created a lot of interest though the colour choice could be improved, and also the rose design worked over the top had possibilities for further development.