Edgar Degas is an artist I chose to study in relevance to the previous capturing of motion in paintings that we have briefly looked at. Degas was an artist I came across when conducting research on my Context Issues and Practice essay, when looking into Wassily Kandinsky and the abstract movement. Degas was a realist artist who progressed in capturing the movement of ballet as an underlying theme, his charcoal and pencil drawings along with his complex oil compositions captured the movement intended in two dimensional form due to the blurred lines and colours used. I found research into this artist interesting especially after having been given the project of 'Things to Notice' in the past. Degas' feathered, weaker lines represent past movements taken by the ballet dancers involved in the compositions, and often draw the viewer's eye around the negative space and through the movements created with the implications of the lines.
In order to produce an effective outcome for the overall animation, it's wise to refer back to the Foley that we produced. For the Foley of these animations, here are a few ideas.
JUMP-
Energetic noise - spring noise, 'BOING' sound
The tension building up to the jump = some tension being created
Dropping noise
LIFT
Scraping noise for the action of actually picking something up
Hard solid noise
Machine noises, highlighting the industrialisation idea that I had thought of when researching into 'Lift' with the aspect of using a forklift as inspiration.
Electric shavers, electronic humming noises
Scraping aspects.
Engines
Computer sounds
Metallic objects together
Clanking noises
JUMP -
Creation of the sounds for jump included scratching of a back scratcher (metallic sounds repeated throughout) as a cause for tension.
Scrapings of various metals for the tension of the crouching also.
A lense blower (blows out air to clean lenses on cameras) to produce a 'whoosh'
Clanking on wood to produce a 'thud'
LIFT-
Phone recorded on vibrate (using start and end tool selecting the vibration noise and repeating it to produce a monotone vibrate noise) to achieve industrialised sounds
Tilting metal pieces and clanking them down.
Ball rolling against surface for scraping sound that the forklift was supposed to create.
The lecture on Frida Kahlo, was to help reflect the style in which we could express our own artists in the Issues and Practices Essay. There is the research process to break down the information and events of the artist's lives and then there is the overall application of relating the events to the practice of the artist's work.
Such things were highlighted that could be considered for this research process:
Family and country dynamics
Illness and personal dynamics
Entry into Art
Position as an Artist
Love, Marriage, Despair, personal relationships.
Politics
Movements
Constructing Identities.
The overall research and points were made about Frida Kahlo to help to restrict the important movements in her life and apply them to how this effected her work. The first underlying points of her personal life and other politics of the time were highlighted efficiently in this process.
Mother controlled family life
Born into a Mexican family in 1900's
Uprising of Mexicans
Revolution of the Civil War
Mexican Revolution
Illness- caught Polio at the age of 9
3000 children died of Polio - made her have a limp, and frail leg
Isolated as a child
One weaker leg
Interested in medicine due to her Father's influence
Had an accident that punctured her abdomen (a pole went through her) in a tram/bus crash.
Started to paint when recovering from the accident
Bedbound so painted a lot
"The Accident" 1926 - Reflects pain and trauma of the experience
Intense and needy relationships
Affair with Diego Rivera - 'Peasants' 1947 -his work
He was a communist
Rivera was someone she looked up to - influenced her idea of politics
Part of their culture to have more than one ongoing relationship
Rivera directed her artwork and political values
Rivera influenced her to look back at her Mexican roots.
Spanish Culture 16th Century onwards - influenced her
Researched into the Aztecs that were there to begin with - primitive styles
21st August 1929 - Frida Kahlo and Diego Rivera's wedding day.
Referred to as 'the Elephant and the Dove' - a toad like man in appearance.
Known to have fallen in love with his power and intelligence not looks.
Symbolism
Strands of Mexican culture began to influence her work further
Mexico's relationship with America influenced her movements
She saw industrialisation and machinery as bad forces due to her accident
Unable to trust machinery
Influence of Mexican ketablo - votive paintings (a painting depicting an accident or event)
Produced a votive painting about her accident.
Diego Rivera's war mural 'Man, controller of the Universe' 1934, controversial content- further influences Kahlo's political views.
Lennon hiding in the mural- caused chaos. Court case ordered because of it.
Numerous operations to fix her problems due to the accident
Always painted in hospital
"The Flying Bed" 1932- Produced in hospital
Miscarriage after miscarriage due to the damage of her accident
Really wanted a child and family with Diego
"Frida Kahlo- My Birth" 1932
Death of Mother
"What the Water gave me" -1938
Surrealist movement influence
Marcel Duchamp helped her set up and exhibition
"The Little Deer" 1938 - Exhibition work - testicles on deer- bisexuality? Impossibility to have a child? - SYMBOLISM.
Affairs with men and women (Rivera also having numerous affairs)
Marriage Problems
Splits from Rivera
Decides to get back with Rivera but with no sexual relations
Becomes like a mother figure to Rivera
Surrogate children in animals- takes on several exotic pets.
Diego Rivera "Mexico Today and Tomorrow" 1934-35 - Arrested by Police and put under suspicion due to strong political messages.
Frida Kahlo "a Few Little Pricks" 1935 - self portrait - shows pain and suffering
Cropped hair in 1940 - starts to dress like a man again - cuts off the hair Rivera used to love.
Due to Diego, she sheds her identity
"The Broken Column" 1944- showing the difficulties with her spine.
Constant expressions of her pain
Many operations
Wheelchair bound due to operations
Amputated her weak leg
A sad time in her life was when wheelchair bound - time of depression.
Aztec costumes
Pretending she's brave when in agony.
"She signalled the movement when women artists began to break the historic silence about women's experiences" - Judy Chicago 2010
After having listed all these points there was then an overall review of what was involved and how these applies to the practice.
I've used the word Lift as an effective verb to be used with an additional element. (In this case the additional element being a line) The behaviour of the word I wanted was to capture the essence of being a heavy group of objects being gathered and then lifted by what I'd like to resemble is a fork lift truck. Through my research I learnt the behavioural patterns of lifting and how it can be associated with different forms of lifting. I looked into lifting weights, the mechanical forms of lifting, and simple lifting of objects. However I decided that lift with additional features of resembling a fork lift truck would be most effective to use for this design.
From the first attempt of the animation, I liked the interaction between the line and letters, but I wasn't so sure about the interaction of the bases against the white. The letters sat below the top of the shape and it just didn't look right, it seemed to appear more like the letters had sunk into the shape rather than being carried by it. Due to this, I learnt to prepare the letters to sit on the line of the shape instead to look more like it was carrying the letters upwards.
After having altered the key points in synchronisation with the changes to the Rotation and Position, I liked the position of the letters on the shape overall. However, I felt there were necessary changes that needed to be made to the letters to make the movement after they were scooped up less energetic, as they seemed to have someone got the energy from nowhere, and they appeared to be swaying in the wind rather than wobbling from the force of the lift. Therefore, I chose to improve on this copy further, making a duplicate of the composition with 'Ctrl D' to ensure that I could alter the movement whilst still noting the progress that has taken place.
There was also the consideration that had to made of the speed of the letters, using the research that I had collected, I referred to the fact that I wanted the shape and text to resemble a crate and fork lift truck, lifting the letters with strain but still reminding the audience of the lift movement and that it is industrialised rather than say a human lifting a box etc. Doing the research earlier onwards really helped to imagine what I actually needed to capture.
'Lift' could vary overall, to what is being lifted to begin with to how it's being lifted. Maybe by a person or fork lift? Maybe a rectangle shape lifting the word onto a platform?
Boxtrolls is a 96 minute feature length stop motion film that explores use of customised puppets and intricate sets. I've been looking into some research into how the Boxtrolls was delicately produced with numerous character puppets and their alternate reactions. Alike to many stop motions of its time, it required an abundance of patience and delicate engineering to ensure that the stop motion ran smoothly and efficiently with the money and time given. The sets were produced in large scale designs, ensuring that movement and detail could be captured in more detail. The longest stop motion to hit the screens to date, the Boxtrolls really in my opinion from what I've seen captures an entertaining plot line with simple animation elements. Laika who's produced other animations in the past (none as successful) speak of how the intricacies take a lot of time and patience which is crucial in the overall success. They even produced an intricate water system to replicate the sewers which looks beautiful when captured on camera.
Tim Burton is one of the many people who's animation has shaped the very aspect of motion design. His stop motion puppeteering produced some beautiful and quite dark movements, and how it's made videos like this show the intricate details that are considerate for the production overall. It's interesting when you look into Burton's original drawings and sketches and see how ideas are catalogued and changed from the original ideas to conceptual animations. Looking back at some of his storyboards also develops the fact that Burton starts with a simple idea and further adapts these drawings into new storyboards. From this sort of research I've decided to begin my own sketchbook involving sketches and drawings separate to my other sketchbook, as this sketchbook will hopefully help to develop inspiration and ideas that could lead to storyboards and future animations.
Even some of the pencil sketches here are beautifully placed together to show his original idea development, starting with sketches and building up to more intricate plans. For each of his beautiful stop motion feature films there are many sketches and drawings leading up to it first. Such films as his recent film 'Frankenweenie' has the sketches that were originally constructed 20 years before the film was produced. It goes to show that simply sketching characters and drawings could develop into future work, even if it is many years afterwards Tim Burton catalogues and collects his drawings together. To ensure that the whole team of animators knows what the story entails and the overall aspects of the characters themselves, it's clear that Tim Burton would have to first off ensure that they knew what was involved via diagrams and storyboards, probably presented to the team individually dependant on their roles in the production. The quite sinister qualities of his illustrations can be captured in stop motion animation in a way that couldn't be captured in a live shot ideally with the allowance of being viewed by young audiences due to the dark nature that most of his animations include. (Such as Frankenweenie, Corpse Bride etc.) Development of the ideas could range in media that then produces prototypes for the animation, with sculptured models etc.
Pencil sketches to start with are a primary element to include and then they'll be beautifully developed into more elaborate animations. Burton was recently asked to produce a short trailer to advertise the MoMa exhibition. So here's a look into the making of the trailer, he brought in his co-workers from the 2005 film 'Corpse Bride' to help out. The storyboard and overall sketches included on the site are also rather amazing to see the development that actually took place.
Reading through the article on the 'How it's Made' section of Tim Burton's MoMa trailer, I found it interesting of how certain points were explored and why and how. (Information found on http://www.moma.org/explore/inside_out/2009/11/13/the-making-of-tim-burton-s-moma-animation/)
“Typically a puppet character can take anywhere between twelve to eighteen weeks to produce,” says Pickersgill, “But Tim’s design lent itself to a very economical build and we put the puppet together in just ten days, probably something of a record!”
The sketches alike to those of 'Corpse Bride' etc. were extremely helpful to Burton and his team for a visual understanding of what needs to be produced and how. Sculptors needed to know how to produce the puppet and what it needed to involve etc. For example, you can see in the photographs included that the sculptors based their designs on Burton's sketches, showing that visually they relied on the sketches to give them the information and data that they needed to produce the correct idea and bring the inspiration of the idea to life.
The detail of the character and what it involved would have to be carefully considered to ensure that they had the right time and budget to produce the short stop motion animation. The overall trailer took a total of 3 days, but with a simple background setting didn't require the production of intricate sets etc.
"Tim wanted the robot and the balloon against a flat grey background. It was great because it further emulated the look of his original pen-and-ink drawings on a plain sheet of paper. We had three days to shoot the whole piece and my first take had to be right. I’d spent a day the previous week videoing myself performing the robot part. You feel a bit silly but Neil Sutcliffe, who edited the footage into his animatic, was very kind. He didn’t laugh too much!”" - Martin Kelly: Animator.
Within the research produced, I had a further understanding of the behaviour and physics of the word 'Spring', it was easier to plan out how the kinetic verb would react to such behaviours. However, during the production of such a word in After Effects, it had become clear that it was a complex procedure to ensure that the word mimicked the realistic aspects of behaviour that I wanted to achieve. It was decided that although this word had been quite effective in theory, it was extremely difficult to be captured by me as I have only just been introduced to the software and the controls.
The overall animation looks alright, with adaptive uses of consideration of 'Squash & Stretch', 'Slow In Slow Out' (Easy Ease) and a massive amount of 'Anticipation' used for the build up of the spring. However, I found myself needing a lot of assistance for the complexities of the physics behind the spring and began to feel demoralised and frustrated by the task.
Therefore I have decided to use this as a learning point and move onto a more tactile word to explore further.
After having explored 'Spring' I ventured into the production of the alternate word 'Jump' a word that I found would be a simpler and more playful word to use in the introduction to After Effects.
Recently I watched a film called 'Coraline' a feature length stop motion film produced with handmade puppets and painted sets. I knew after watching this a few times previously that their was the basic idea that I was aware of it being the puppets, but I've always wanted to research into it further, such research is on 'how it's made' videos, accessed on the DVD itself or on streaming sites such as Youtube.
Extraordinarily there were in fact 6, 300 replacement face pieces with over 207, 000 possible facial reactions. A catastrophic amount of attention to detail and expense went into the making of the puppets who made up each scene. Each animator completed 2 to 7 seconds of animation a week with over 70 cast members working on wig design, puppeteering etc for the 24fps film to take place.
With production of ideas, Coraline's characters had to be perfect. It can be seen in the videos that the character development was key to the research of Coraline with the overall sketches and drawings to start off the ideas. Coraline herself had to be carefully considered, how conceptual can the plans be? Such characteristics as her blue hair were later added to the production plans to produce a more vibrant idea.
I came across this stop motion animation and found it inspiring that not only had the animator (an engineer by trade named Chris Herridge) used the animation to entertain, but also to demonstrate the technical practices of the engine being dissected and reassembled. That when paired up with the dramatic music track produces an aspect of tension and action within such a simple sequence as taking an engine apart. An extremely time consuming task but clearly very worthwhile, it's almost as if the whole thing is a form of choreographed dance.
I recently in my own time watched a documentary (sourced on film streaming site Netflix) on Pixar's journey through evolving animation from the popular two dimensional characters (Most popularly Disney creations) into more contemporary three dimensional films we know today.
I found the documentary pretty inspiring with alternate viewpoints from John Lasseter, Brad Bird, Steve Jobs and Tom Hanks. The handwork of the animators into particular successes such as their first three dimensional success of 'Toy Story' evolved into eight more hits, it also narrated that whilst the three dimensional developments were a success, there was a gradual decline of two dimensional animations such as the workings of Disney, causing a suggestion of teamwork of Pixar and Disney together as a whole, all funded to begin with by Steve Jobs.
Pictures sourced from http://www.magicofdisneyart.co.uk
It showed the development of initial drawings and storyboards of alternate animated short films that then developed into the long films we watch today. Such beautiful animations developed such as:
Upon our visit to Man Met Library facilities, I came across a series of books in the animation section of the library. My favourite of these books were 'Mickey Mouse- by Pierre Lambert (Foreword by Roy E. Disney)' and 'Disney Animation - The Illusion of Life by Frank Thomas & Ollie Johnston' I found these books particularly interesting as they included original copies of Disney's storyboards, which inspired me into my own storyboards and currently producing in the planning for the Animation Principles Kinetic Verb brief.
It was apparent that with Disney, animation wasn't something that had been really gone into much detail before, so making their own rules and regulations into the Principles of Animation I found really interesting.
"When we consider a new project, we really study it... not just the surface idea, but everything about it." - Walt Disney
I found the original principles and the overall detail of this book rather inspiring and it has made me want to research further into Disney's original ideas and set ups of his animation. The copies of his original storyboards were magical, you could clearly see his thoughts and ideas and the production of better thoughts being evolved within the drawings and sketches produced.
The book 'Disney Animation- The Illusion of Life' was particularly inspiring with the detailed application of physics into the animation, with considerations of what movements apply to alternate animations.
Such principles that we'd been introduced to were highlighted such as the jargon that Disney produced. The usual animation principles that we'd been introduced to were named in the book as just original ideas that soon developed into rules of the trade, unbeknown to the people that originally made them.
With the amount of dark and dingy looking photographs and fragments taken previously at the Courtyard a couple of weeks ago, Kris mentioned the Oscar Award Winning Animator Mikey Please, who's work also resembles a dark side to animation. The short films I found particularly inspiring with the stop motion foam material used, and the intricacy that has gone into the animation is beautiful. You really get a sense of an alternate reality in his pieces, a different world accumulated by such detailed and beautiful sources of techniques.
21st November 2014
In this lecture it was highlighted rather well to us that dates are just as important as the work itself, obviously the work will have a story behind it, whether it's the artist's background, thoughts, feelings, or just the overall era that it was produced all impact the outcome. Therefore the timing is important, and I feel this was very helpful in the overall lecture all of which could implicate into my own timeline.
Pablo Picasso- Mother 1896
As well as the timing being important, we reviewed the preconceptions of artists such as famous artist Picasso, I visited the Picasso Museum in Paris and found it very interesting to observe the reactions of a variety of visitors, and I applied this in the lecture when discussing the preconceptions of Picasso. At first, the abstract elements of his work hits you accompanied by the vibrant use of colours, dependant on his feelings at the time.
I found it really interesting that Picasso had managed to break from traditional styles of portraiture that he had grown to know so well, his father being a skilled painter taught him from an early age, leading to a genetic skill in beautiful and intricate drawings and paintings. He had a vast skill of depth perception and spacial awareness in his work, intricacy and rich use of colour.
Picasso- Sitting Woman
However, his once realistic looking beautiful oil paintings soon adapted to brighter, more vibrant abstract pieces, that I believe that despite being a hundred years old, still look modern and contemporary to this day. Picasso began an adventure into 'drawing as a child and not like a child' I think it was demonstrated in the lecture of what Picasso really meant by this, there is no way that an adult can realistically draw like a child because our brain's are too developed to not be able to think intricately of the actions that were taken, therefore as much as we tried they'd look too thoughtful and organised.
Raphael Madonna- Tempi 1508
He created the aspect of feeling 'blue' in his pieces, since his strong feelings of sadness began to impact his work.
"I started to paint in blue when I learned of Casagema's death" - Pablo Picasso
Picasso- Mother and Child
The sheer impact of loss allowed the artist to express a new outcome of emotion through his paintings, adding another alteration to his work.
Old Guitarist- Picasso
Blue was once a colour used to represent purity, a rich colour that was hard to come by, was often used for pure characters like the Madonna. The blue period was a large part of his life, making his painting mirror his feelings.
Picasso- Guernica
Another emotional piece Picasso produced after fleeing from homeland Spain, was the aspect of the explosions and attacks in Guernica, which he decided to represent in this deep piece, again representing sad emotion with tones and grey and blues. Each piece of the painting representing a different thing.
24th October 2014
Today's lecture explored the ideas of perspective. What is considered a real art form? How can art movements impact a community?
Perspective- Paolo Uccello
Each movement reflects the time era of the chosen topic. The industrial revolution transpired into such movements as Cubism and the aspect of collage. (From the French coller- to glue)
In contrast such movements as the famous Dada movement, a movement that rebelled against known art conventions, transpiring from the first World War onwards. The aspect of things that may seem nonsense at first but within the perspective of the time made strong statements against the norm. Such movements completely contrasted with the usual perspective (such example as Paolo Uccello's 'Perspective' 1397-1475) A famous act of the Dadaist rebellion is Marcel Duchamp's 'Fountain' 1917- a simple urinal made to represent art in an alternate form. It is visually strange and completely symbolic of the rebellious nature against society's considerations of normal behaviour and normal ideas of art.
Alternatively, Dadaism effected other medias, such as the Literature and Language stages of society, acts of Dadaist poems provided a rather random outcome of poetry, defining themselves against the considerations of everyday literary ideas.
Hannah Höch's work.
"One can shout with rubbish... Everything had broken down in any case, and new things had to be made out of the fragments"- Kurt Schwitters.
The aspect of randomly cutting up existing literary words and reassembling them by chosing at random words from a hat was a bizarre concept, with extremely bizarre outcomes. These poets were wild and free of society's restrictions during this time, they wanted to make a statement that anything can be altered, even society's art forms in every media.
Hannah Höch's Industrial Landscape 1967
How to make a Dada poem-
Take a newspaper or book
Grab some scissors
Cut out all the words necessary
Female contribution to the movement also offered completely different perspectives, such things as the combinations between pornography and women's magazines was a key element produced mainly by female artist Linder Sterling and Hannah Höch.
I stumbled across this advertisement when watching TV in my spare time and found it quite fascinating, Rick had previously mentioned that in the industry they sometimes either combine stop motion and digital animation, and also imitate stop motion with digital animation. I found this point applied well to the idea of the 'Singing Toys' advert.
Credits List:
Project name: Left Behinds Client: Owen Jenkinson, Head of Marketing, Freeview Creative agency: Leo Burnett Creatives: Rob Tenconi & Mark Franklin Creative Directors: Richard Robinson/Graham Lakeland Executive Creative Director: Justin Tindall Agency TV Producer: Becky O’Sullivan Planner (creative agency): Julia Chalfen Client Service Director: Darren Thomas Board Account Director: Ben Gillibrand Senior Account Manager: Ali Wilde Media agency: MEC Planner (media agency): Michelle Radley Production company: Rogue Director: Sam Brown Editor: James Rosen @ Final Cut Post-production: Electric Theatre Collective Audio post-production: Aaron Reynolds @ Wave Exposure: TV, VOD, Online
Tuesday 25th November 2014
After having caught up on the kinetic verb brief, I am currently researching into a word that I think will be effective.
SPRING
The word spring I decided would be a good word to explore, the first build up of the word coiling back down to the ground and then springing upwards with both energy and tension.
One of the first things I thought about when thinking about the energy of a bounce a spring makes is how these characteristics are applied to characters in a hyperbolic cartoon environment. The first instance of this became evident when I realised the character's connection to the word and an alternate outcome compared to the realism of kinetic physics. The character in question is 'Winnie the Pooh's Tigger, an energetic tiger character that springs up and down on its tail to travel, I found this interesting in the research of the word to see how different animators approach the characteristics of bouncing and springing.
Primary Research
'JUMP'
An additional idea was the idea for the word 'JUMP' with similar aspects of movement, but with less complex forms of behaviour, perhaps a better attempt for animating on the new software. I have learnt that the software itself can be challenging for new comers with complex words, so perhaps a research into this word itself will be more beneficial.
In first instances with jump I think of what does jump, primarily people, athletes, children etc, as well as some animalistic behaviour of jumping such as penguins and kangaroos etc. Obvious aspects have to be considered in order for this word to work out well, one of which is the aspect of weight, shape and size to be considered for the physics behind the animation. For example, a human's size and weight would be extremely impacting on the length and height of the jump. The same considerations I will have to make for this word, how high will it manage to get to? How can we further generate a hyperbolic sense without taking away the realism of the jump? Maybe an aspect of 'Squash & Stretch' could be used within the animation to produce an effect. I'm imagining the word crouching down with use of 'Anticipation' and then held for a few seconds, and then eventually built up into the full jump and then fall back down.
10th November 2014
In order for there to be realism within the physics of motion there has to be a considerable amount of thought into the physics behind it, even if it is so simple as a bouncing ball it needs to be just right in order to be realistic or plausible. The last thing a viewer wants is to feel uncomfortable watching something because they think it looks awful due to the lack of consideration of physics. I personally would like to further study in my own time the physics because of the fact that there is probably a hell of a lot more of a theory behind it and more complex ideas too. Differences in motion:
Fictional- Although all motion design concepts of cartoon etc. are fiction, do you want them to possess realistic physics? Most likely for such things as kids cartoons. Things will be emphasised more into more dramatic and almost humorous concepts.
Realism- Trying to capture the overall rules of physics within an animation is not only key to it's success, but it has to capture every quality in order to look realistic enough to be comfortable for the viewer.
Certain considerations have to be made - do the wheels on a bus roll along the ground with the animator considering friction? How could the friction be altered with new materials? Going over rougher ground etc. Stop Motion Exercises
Using stop motion animation, I cut out a circle for some exercises to imitate a ball bouncing etc. in order to do so I realised the following and this could be applied.
My first bounces were too sharp or the speed wasn't realistic enough, adding more of a bounce to it emphasises more of a cartoon perspective onto the design. Before producing the stop motion I applied my knowledge and imagination to the exercises - what material is used? how would they interact with each other? how could this be most effective?
To make it all smoothly run the movement had to be considered fully, the amount I moved the circle varied the speed of the roll etc.
17th November 2014 After Effects Exercises-
Using similar exercises in After Effects, we tried some trial ideas first, the demo I found slightly challenging at first but then once we started the exercises it began to be more clear of what was most effective. Using such rules as making arcs etc.
I am looking forward to learning more on after effects and adapting these skills into further projects.
Edgar Degas is an artist I chose to study in relevance to the previous capturing of motion in paintings that we have briefly looked at. Degas was an artist I came across when conducting research on my Context Issues and Practice essay, when looking into Wassily Kandinsky and the abstract movement.
Degas' feathered, weaker lines represent past movements taken by the ballet dancers involved in the compositions, and often draw the viewer's eye around the negative space and through the movements created with the implications of the lines.
