Silvertone Pivot! 

Posted on April 16, 2024 by SusanG

Though I am growing to dislike that term (pivot) it is so overused these days. But it is what I did with the Silvertone headstock painting. And I’m going to share with you how that came about.

When I did the sketch out for the Silvertone I was planning on doing an acrylic ink stippling painting on canvas board that I had gessoed to almost smooth. Almost, because the one I made smooth had issues of its own when I started putting dots of acrylic on it. I had the canvas board prepared and set it aside to work on Fred, the fish, and to finish up the trio of tulips.

Working on Fred exposed some issues for me with regards to doing the stippling. It turns out to be a little hard on my eyes and my hands the way I do it. So, while I continue to work on Fred a little at a time, I’m currently not inclined to pursue additional stippling projects. This one will take quite a while to finish. 

Over the Easter weekend, I had a lot of time to work on art and one of the pieces I chose to tackle was a set of berries that I had started as an experiment. There were a couple of parts to the experiment, but one part was key to working on the Silvertone. The berries are pastel on canvas board that has been coated in a sanded gesso. I didn’t put much forethought into preparing the canvas board, so it was especially textured. It has the canvas texture with the sanded texture on top of that so a little challenging when trying to get a good consistent coverage. But I persevered and it came out great. I am still super excited about how it turned out. 

With the success of the berries, I looked at my prepared canvas board for the Silvertone and wondered if pastel might be a better choice for it. So I gave it a coating of the sanded gesso. The great thing is that the sanded gesso I have is clear, so it didn’t obscure the sketch that I had already done. Once it dried, I laid it on the art table as the next piece to start. This was the last night of the long weekend for me so I wasn’t really planning on starting anything. Except. Yeah, you got it. That “Except” word. With it laying on the table I thought ‘I wonder how that’s going to work.’

That was in reference to the background I knew I wanted to create. I wanted to use the browns, oranges, and yellows like a tortoiseshell style guitar pick. Or something more reminiscent of that. So I tried a bit of that to see if it was going to be as I hoped. And it was. But then I was faced with another challenge or puzzle. The logo. 

How was I going to handle the detail of the logo and get the black where it needed to be and keep a reasonably crisp line to the word? Especially given that the pastels I use don’t have a fine point to them. I started experimenting and landed on a method that was working quite well. I used a pastel pencil to mark in the brand name or logo and then a stump to even it out and sort of force the pastel into the surface so it would hopefully hold. Then for the black around it I took a different stump (smudging stick) and instead of using the pastel on the surface I rubbed the stump across the pastel to pick up the color and then used the stump to paint on the surface in between the letters and in the voids of the letters. It worked. And I thought I’d leave it there and go eat. I didn’t stay away of course. 

After dinner I had to return to the Silvertone and see how it was really going to look with this technique of painting with the stump. So I worked on it a while longer. The thing about using the stump to paint the pastel on the canvasboard is that it works quite well if you have a good even or thorough coating of the sanded gesso. If you have gaps, it’s not very effective. And in fact, if you have an acrylic gesso underlay with no texture and a not so thorough coating of texture then the pastel isn’t going to stick well no matter what you do. I found out the hard way.

The stump painting thing was working, and it had gotten late enough that I had to go to bed because I had day job the next day. You would think this would mean it would be a while before I got back to working on the piece. Well, not when every time you walk past it you feel compelled to do a little more and a little more. Because as it turned out the stump painting process also worked well in between strings and tuning pegs. Which means quite a lot got done in five-minute increments randomly throughout the day. I also took some time at lunch to work on it. 

That the Silvertone piece was being that compelling to work on was on the one hand really cool. I do enjoy pieces like that. They often come together fairly quickly and with some ease. On the other hand, they can be detrimental to things like sleep and getting much else done. I had Taekwondo class that evening so I worked on it a little before class and then, since I’d been up late the night before I thought I’d go to bed early. Except. I stopped in the studio a moment to try something and forgot to stop so I was late getting to bed again. 

I had some minor frustrations along the way. One was finding that I didn’t have a really good sand coat on the surface, so some areas had trouble taking the pastel. Another was my fix for that. Which may or may not be very sound. Since my gesso is clear, I thought I’d just add another coat. I made a point of spray fixing the pastel first but that wasn’t as helpful as I had hoped. I probably would have been better to give it a finish fix. It wasn’t helpful because, some of the pastels I work with are liquid soluble, so things smeared pretty good as I painted the gesso over it. I nearly destroyed it about halfway through working on it. Fortunately, I was able to work with the mess I made and use it somewhat to my ultimate advantage. Yes, I was worried for a moment.

And even after that, it did not become any less compelling. It demanded attention and got it because for me it was so exciting to see it come together. And at the point I dusted it the first time with the ‘glitter’ I was so excited I wanted to burst. That ‘glitter’ was another part that was a ‘how am I going to do this’. And to figure it out and see it work was awesome. Though, the spray fix did destroy it a couple of time because it is a dusting, and the pastel is liquid soluble and spay fix is a liquid. It took a couple of passes to get it to stay enough to be visible and look purposeful. 

I learned a lot doing this painting and the berries, but I made bigger mistakes and adjustments on this than the berries. It has also, well both paintings, have inspired me to do more pastel work. So much so that even finished the big experiment that I started last year. And, I have several more pieces lined up that I will be doing in pastel.  

For those who might be curious as to what I used to create the Silverton painting, I used a variety of soft pastels and pastel pencils. I used soft pastels from Sennelier and Rembrandt and pastel pencils from Conte and Derwent. And I used a little bit of Conte pastel crayons for the white and black. I used your regular run of the mill paper stumps and tortillons for painting on the surface in the tight areas as well as for smudging and blending the pastel. I did a lot of that with my fingers as well. My surface is a 12 inch by 16 inch canvas board that was pre-primed and then I added a couple more layers of gesso to smooth most of the canvas texture out. One layer was tinted. Then after I sketched in the basics for the headstock I added a layer, not enough of one, of Art Spectrum Colorfix Original. 

And that’s how the Silvertone became a pastel painting instead of the stippling painting as originally planned. 

And now to get started on the next thing. 

Cheers!

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Time

Posted on April 3, 2024 by SusanG

Ok so this isn’t the post I was going to put up next. But it’s the one I want to write and post right now. I’ve had an interesting, fun, and sometimes frustrating couple of weeks. That have culminated in a weekend with time that I really needed.

I couple of weeks ago I was asked to attend an event that turned out to be part of a school project for one of the young people I take Taekwondo with. As part of it they had an early Holi celebration, which for this event meant throwing colored powder at each other and generally enjoying getting a bunch of color all over each other. It was fun. And not entirely dissimilar to painting in soft pastels for me. Though I don’t usually manage to get them quite all over, I don’t think I’ve ever got it in my ear, but who knows.

On the way home from that my car decided to continue to plague me with the random, unidentifiable check engine light. The car trouble started when I took it in to get the tires checked and some general maintenance done so I could take it to Asheville, which I didn’t do. By the time of the light coming on after the event, and then going off a couple of hours later, it became apparent that the car was trying to break up with me. Fine. That meant finding a new vehicle.

The car was paid for. I had no car payment. I really wasn’t looking forward to getting a new car and having that payment again. But it really was time to call it quits with that car. So, I set about looking online to decide where I wanted to start the search. But my week was tight. I didn’t think I’d be able to look until the weekend. That is not what happened.

I inadvertently sent an inquiry to one of the dealers when I tried to find out what my car would be worth. Fortunately, it was a dealer with a car I liked. I got called the next morning asking about what I was looking for etc. They had something that fit my requirements and I could come look at it in my 2-hour window after work. Can you see how this is going? Yeah. I went and looked. Liked the car. Put a down payment because well it was the only one of that color and I didn’t want black, white, silver, or grey. I was late to my thing that was the end of my 2-hour window, but it worked out ok. I went back to the dealer after the dentist, two days later, and did the paperwork for the car. I didn’t spend my weekend looking for a car, which was awesome. I’m not sure I remember what I did with my weekend at this point. Some things are a bit of a blur. But it wasn’t looking for a car.

With the car problem solved I was a little more relaxed going into the days long upgrade process I was to start at the day job. I’d explain all the ins and outs of why this was a big deal and why it wasn’t a big deal in detail but that would be long and possibly boring to read. So, the short. Ish. We were trying to do an in-place upgrade of a system that I am responsible for and is historically fussy. I have a set of ‘practice’ servers for this, and I work with a vendor who has much more extensive experience with the software so I wasn’t all alone in this. I had one of our server engineers take ‘snapshots’ of the servers so if something went wrong, we wouldn’t have to rebuild the server, just rollback. Best decision I could have made. There are two servers that work together for this system and we managed to crash both of them hard. Hard, hard. So hard that we couldn’t boot into windows and even a repair failed. Rollback time. Try again, what did we do. Yeah, no joy. We did the same thing. But at this point we had an idea of what caused it so for the next try we crashed just one server to verify.

This is where all plans for this upgrade got completely trashed. We can’t do an in-place upgrade. There is good and bad to this. The good, it will be more beneficial for the business users as it will be a little less disruptive. The bad, in means a lot, a lot more work for me. That’s fine.

I had a meeting with my manager a day or so after the misadventure of the upgrade and he suggested that I take Monday (day after Easter) off. I have the time that’s not an issue, but I was back and forth. Until I realized this. My manager is former military. A commanding officer at that. And I imagine that if we were military, he would have means to make sure I took Monday off, but as we are not, he can’t force that I take the time off, he can only strongly recommend. I took Monday off. It was a great decision.

Which brings me to the title of this post. Time. I got two really valuable gifts of time this weekend. The first was that my Taekwondo class for Saturday was cancelled. My Master took the weekend as a holiday. This worked out because even though I know I could ‘skip’ class, I rarely do. And this meant I didn’t feel guilty for not going to class. The second was of course having Monday off. I used the time well.

I spent the weekend mostly arting. Yes, art is a verb.

I managed to finish two pieces, nearly finish a third, and start a fourth. I also did start and finish an experiment. I did some additional experimenting, on that fourth piece, and have a bunch of ideas of what and how I want to do the next pieces. I’m really excited about them. I can’t wait to get working on them.

The one piece that is almost finished gets to wait until I get to a stopping point on the fourth piece because that’s watercolor and the fourth piece is pastel and really messy. I need to clean in between working on the two. I’ve got pastel everywhere, though not in my ears, I don’t think.

The only thing about having all these ideas for paintings or art pieces I want to do is that, there just aren’t enough hours in the day and I don’t have enough surfaces in my place to be working on too many at once. Though it’s not like that’s a big problem as some of these progress pretty quickly and they tend to keep my attention really well. Even to the point of getting worked on during my lunch time. Which reminds me of an IG post that redefines the starving artist concept. She says that we’re not starving artists because we can’t afford to eat, it’s because we put food on to cook, go to do just one tweak to a painting and come back to burnt food. Or, in my case, don’t get to eat right away because I have to go back to work and into a meeting. I can live with this. I really can. And I am honestly all smiles about it.

What’s next for me? I’m going to be finishing up the watercolor painting and the fourth painting, which as I mentioned, is pastel. And I want to finish up the bigger experiment that I started last year. Mostly because I need/want that board for another project that I would like to start. I’m also cleaning out my technical pens which isn’t really exciting and rather more embarrassing to realize I neglected them so badly. I’ll be posting more on Instagram and I’m making efforts to post more on Facebook, and I’m working on some other options for sharing my artwork. If you get this blog and don’t already know, I have a fine art prints store at: http://susanmichelleartist.com . I’ll be posting much of the art I’ve been working on the store once I get it photographed.

That’s it for me this time. I will be getting back to a more regular schedule with my blog posts, I just haven’t decided what the frequency will be so stay tuned, and thank you for sticking with me.

Cheers!

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I’m Going to Try This Again

Posted on February 21, 2024 by SusanG

This is the third time I’ve tried to write this post. The first time I didn’t know what to write about. I didn’t think I had anything to write about, so I just started writing and finally found something. But I didn’t get it posted. So, I tried again to write an update of what has happened since the last post, and it was long. I thought about trying to use what I wrote for that but in the couple days between finishing it and now, well, more has happened, and it would take considerable editing and then be even longer. So here goes.

I have finished both the Telecaster painting and the Turtle. Both have been to the photographer and back. I did something with these pieces that I’ve not done before. I kept track of how long it took me to complete them. From first pencil marks on board or paper to completion. Every time I sat down to work on them, I made a note of the time I started and stopped. It was a bit of an eye-opener.

The Telecaster painting is 12 inches by 16 inches. It is colored stippling using liquid acrylic inks on smooth gesso-ed canvas board. The background is brushed on liquid acrylic inks. It took about 47 hours to complete.

The Turtle painting is 18 inches by 24 inches. It is black ink stippling on watercolor paper. I used Copic Multi-liner pens to execute the small dots that make up the image. This one took 80 hours.

I had never made an effort to figure out how long some of my art takes me to do. I think that is partly because in the past I would work on a piece for a while and then work on something else for a while and maybe not get back to the first piece for days, or weeks. And maybe, also, because I didn’t take it seriously. But recently, as I’ve been trying to get my art in front of more people, I’ve had more people ask me how long a piece takes. So, this time I kept track.

If you’re wondering if that has made a difference in how I see my work? Yes. It did. I’m still processing that, so I don’t have any more to share about that yet. Let me let it sink in for a bit.

I did learn with the Telecaster that I prefer to do those type of paintings on a tinted support be that board or paper. So even though the grey under the Ovation was hard to cover, it did serve the purpose of making it very easy to tell if I had enough color saturation (enough dots). With the white support for the Telecaster, it was easy to think I’d got enough dots when really it needed another layer. So, the next one like that, I’ll be coloring the board before I start the dots.

I have two other paintings that I prepared when I started the Turtle and the Telecaster, so I’ll be working on those next. They are both watercolor paintings of flowers. Black Tulips to be more specific. When I was in Paris with my sister we walked through a large and beautiful garden on our way to the Louvre one day. We knew we wouldn’t be going in the Louvre, so we enjoyed the walk in the garden seeing the flowers, and trees, and sculptures. And we took pictures. Had I realized I would be painting them I probably would have taken the pictures more purposefully. As it is the reference I’m using was taken by my sister. Yay, sis!

I attempted to paint a black tulip not long after we got back but it didn’t go well, in my opinion. I’m sure someone would say it looks fine, but for me it’s an ok first attempt. I’ve had opportunity to watch parts of a bunch of process videos since then and I’ve learned a few things that I think will make these paintings turn out better.

The first one I’m working on is a small piece, just 8 inches by 8 inches, like many of my previous flower paintings. Its focus is a single tulip and so far, I’m quite pleased with it. I’m using the same paper I’ve used for the previous square shaped flower paintings, so I know and am comfortable with how the paper and the paint work together.

The second watercolor will be a little different, and bigger. It is on 12 inches by 12 inches watercolor paper that is made by the same company that makes the other paper I’m using but this is cold press, and the surface is a bit different, so I don’t know how that one will go. I’ll need to be patient with it. Also, it is a grouping of flowers, there are 3 tulips to feature in it so that will be a new challenge for me.

I haven’t quite decided what I’ll work on after I finish these two. It might be time to start thinking about that and sorting through photos. I have started a pastel piece, mostly as an experiment, that I might either finish as a pastel, or do as a watercolor, or maybe a modified version of it as a watercolor, or maybe do both the pastel and the modified watercolor. I’m not sure yet. I do like the color and the vibrancy of it.

So, there’s an art update. There is always more going on that is just life stuff and I’m not sure it’s worth writing about. Though since some of it probably got in the mental way of my getting this post out much sooner, I probably could have written about it. Rest assured, none of it was really bad or tragic. Just some car issues, that are frustrating, a bit of scheduled dental work, and either allergies or a cold or a combination. I have been out to play music. With the holidays over the jams have started back up and I’ve been to them. The last one was a lot of fun. We had a lot of players which is always fabulous. I’m hoping that happens more often. I would enjoy more opportunities to hang back and play and learn. Of course, that might mean I’ll need to put in a bit more practice more regularly and learn a few more songs. Like that’s a bad thing. It would be good example for my guitar student as well. Hopefully that gets you up to speed again. I’ll try to do better but you know, life, and art, and music, and…. Anyway. Until the next time. Cheers!

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Counting is Hard

Posted on January 31, 2024 by SusanG

More specifically counting to four is hard. Counting to four twelve times, and keeping track is hard. No. I didn’t think so either, but it seems to be. And to be fair, in the context I’m talking about, it really, kind of, is.

Here I’m talking about counting in music. Western music in particular because I know naught about Asian music or African, though Carlos Santana will tell you that most of what western music uses are African rhythms so maybe it is also based on a four-beat barre. A lot of music is based on roughly a four-beat barre with some variation. Cut time, or three-quarter time, or even six-eight time are some variations that are common, until you get to jazz and then all bets are off.

Learning to count in music is important. It lets/helps you to be able to play with other people. It’s the underlying thing that holds the group together, along with the key. If you can’t count how long you are supposed to be playing that chord or note, or how long someone else is playing that chord and where you fit in with it, and when they are going to change, then things don’t sound quite as good. And somebody is going to get confused. One of the best tools in learning to count is a metronome. And I’m finding a lot of bedroom musicians do not like to use one. I understand and relate. I didn’t either.

My relationship with the metronome is sporadic these days. It used to be non-existent. I didn’t want to use one, I hated to use one, and I wouldn’t use it. Though, my father, a musician himself who had played in band, and I think orchestra would tell me I needed to use one. He was right. But I didn’t really start any level of practice with one until I started playing with people. I found it was good for helping me learn to stay with the beat so that when I had a drummer to follow, who might be doing fills instead of just keeping the beat, I could stay with them. And while I don’t always use one these days, I do go back to it when I’m working on something that I’m having trouble with getting the timing for. Or when I’m trying to set a pace for my sister if we’re working on a piece together.

And this is how I learned that counting is hard. My sister and I have tried to work on three pieces together now and we did good with the first two though it took some work. The third one we still need to work on, I just happened to get caught up in something and haven’t gotten back to working with her on it. But I got a good laugh at something she put together because of how she matched things up. I forgot to tell her that so when she reads this it will be the first time, she learns of it, and I’ll get a text message. But I digress.

My sister is really my first understanding that counting is hard. And I have fun joking about it with my musician friends that I play with because it is the idea that something we learn to do at a young age is so hard when you get older. But it’s the context. And my sister isn’t the only one, she was just the first. I came across another person who is learning to count. Someone who wants to play with the jam that I play at and said, they aren’t very good at counting or keeping track, they are super worried about keeping up and making the chord changes at the right time, and all of that. And then there is my guitar student. Who takes chorus in school, and understands the notes, I will still have to work with them on counting. And until I sat down to write this, I had not thought at all about what is really going on when we count for music and that it truly is hard.

Let me take you through a basic 12 barre blues. A basic 12-barre blues is often in standard or four-four time. Meaning you get four beats to a barre; a whole note is held for four counts. In a 12-barre blues there is a 12-barre pattern. That means that after you play the first 12 barres you just repeat what you played until someone decides the song is done. So now you have to count to four, twelve times, and you have to keep track of how many times you counted to four. That sounds a little harder but not that hard, right?

Ok. So, let’s add the pattern. One 12 barre blues pattern is: the I chord for four barres, the IV chord for two barres, the I chord for two barres, the V chord for one barre, the IV chord for one barre, and the I chord for two barres. Then you repeat. Don’t worry about what those chords are, I’m just illustrating the pattern. An easier way to read this is:

I have to keep track of counting to four for four times, change my chord, then count to four for two times, change my chord, then count to four for two times again, change my chord, then count to four for one time, change my chord, count to four for one time, change my chord and count to four for two times, and don’t change my chord and start over.  Easy until you try it. Because each count is for the same amount of time.

Let’s use seconds here. So, let’s say you are counting to four. You want to strum or play a note four times per barre. And each one should be for a second. You want to count 1 for 1 second, 2 for one second, 3 for one second, and four for one second. You don’t want to count 1 for one second, then 2 for 2 seconds, and three for one second, and four for 2 or 3 seconds. Then you have six or seven seconds to your barre instead of four seconds. Has your brain seized up and ceased to function yet? Now you know how your child or friend who is learning to play music feels.

So, that’s just chords by the way. That’s not trying to read the notes of a melody or just reading regular music where you have to deal with the whole notes, half notes, quarter notes and all other manner of fractions of a barre and their various combinations. Basically, you need to get the right number of notes to add up to whatever that top number on the time signature is into each barre. So, if your barre is four seconds long, then a whole note is four seconds, a half note is two seconds, and quarter note is one second, and all the notes in a barre add up to four seconds. As a very simple example because it is never that simple.

Now I get it. Counting is hard. Counting for music is hard. You don’t just keep track of counting one thing. Depending on what your part in the music is you could easily have three counters going at the same time that are all at different numbers. I’ve been counting for music for so long that it is second nature to me. Not that I’m always disciplined at it. I use a lot of music counting slang, I drift and make it up as I remember it. But, if I need to figure something out, I go back to the basics and count it out properly. Counting is part of the musical grammar. It’s part of how musicians relate to each other when they are playing together. So counting is important. And hard.

I will still give my sister a hard time about her not being able to count, because that’s what sisters do. But I understand better now why she has trouble. I’d really never thought about it. Now that I have, I hope to be able to show patience to my guitar student and the musician who wants to play at the jam. It really is a mental work out.

And that’s all I’ve got. Cheers!

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And Now My Head May Explode

Posted on January 25, 2024 by SusanG

There are times when so many possibilities for art projects come my way that I get stuck, and my head wants to explode. It’s exciting when this happens. It’s also nearly paralyzing. It’s like a kid that walked into a toy store and can’t decide which way to go first.

When this happens, it’s very rare for me to jump right in and try to create one of the possibilities. They take time to settle in and gel. I can see in my head how cool they would look but often I have to work out exactly how to do what the piece needs.

NOT one of the guitars my sister took pictures of.

And yes, I have recently had one of those mind exploding, brain paralyzing experiences. My sister, awesome sister that she is, offered to go to an instrument swap meet and take some pictures for me for reference photos. She got some things I can work with and a few that I’m super excited over. And yes, I’ll need to let them gel in my brain before I get started on them. And I’m excited. The ideas and possibilities had me so stuck that I was having trouble getting out of the house to go run some errands. And no. I’m not going to share the pictures; you’ll have to wait for the art.

For some people, when they create their art, they decide what they are going to work on and exactly how it’s going to go. That is not the case for me. Not even close. I get to say, I think this would be a great piece or subject and start it, but the piece always seems to dictate the way things are going to be. I don’t know if this has always been the case. If it was, I wasn’t aware of it. These days though, I’ve learned that anytime I force something and get bull headed about making a piece be just so, or try to force a finish on the piece, or rush it, things don’t go well. Something will go wrong at the last part, or I’ll just not be happy with it. So, I’ve learned to let the piece dictate how things are going to go and at what pace.

I recently had a friend who is also an artist ask about how I decide what to work on or do, and even my mom asked about something similar. I think I said to both of them something to the effect of ‘you think I have a say in this?’ I don’t really. I think I even said to my mom ‘I just do the work.’ Each piece dictates what it wants, how it wants to be worked on, which part gets worked on next. One morning I thought I was going to work on one part of the current piece, the turtle, and though I spent several hours working on it that day and didn’t get to the area I thought I was going to work on.

Fortunately, because I know that if I don’t have something to work on when I finish a piece, I have a hard time getting started on the next piece, I am able to get several pieces, or ideas, lined up, sketched out, and ready to be worked on. I don’t, however, get a say in who gets completed first. Or who gets the bulk of the attention. I just do the work. Whichever work is presented to me that day to work on. Most of the time the piece I start insists on being completed or nearly so before I can start on another piece. The Turtle and Telecaster headstock are an interesting exception. I started the Turtle and was working on the sketch for the Telecaster. Once I finished the sketch for the Telecaster it would not leave me alone. It nagged at me, so I moved the turtle and started on the telecaster. I got the telecaster to the point of being nearly complete, it just needed some resting time, and returned to working on the turtle.

Now, the telecaster needs just a bit more work to be finished and I would like to work on it, however, the turtle is not at all interested in that prospect. So, I continue to work on the turtle. I’m sure I’ll get it to a point soon that I will be able to swap them again and finish up the telecaster. I’m a bit excited for that day. I really thought it would be about 5 days or maybe a week of resting time and then I’d be able to finish up the telecaster and that’s just not how it has been.

It probably seems like a strange way to work for people who are used to choosing what they do and muscling their way through, or having some sort of hierarchy or even pipeline that dictates how they work. I can say that when I have obligations, the art tends to be cooperative, and I can work on the things that have to be done. However, when I don’t have deadlines though, things are a bit different. I try to go with the flow.

And of course, now that I’ve been working on dots for several weeks, and black ones most of the month I’m getting the itch for something a little different and in color. I’m not quite sure how I’m going to manage it, but I may need to start one of the watercolor pieces that I’ve got lined up. My head may explode.

Cheers!

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