Posts Tagged ‘Stencils’

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Design Magic: What is a DesignPack?

Wednesday, August 4th, 2010

The questions I’ve heard most frequently since we published Design Magic are “What is a DesignPack?” and “How do I use the DesignPack with my Design Magic book?”

The DesignPack is a convenience item that we put together for readers and teachers. It contains pre-cut and pre-printed templates that allow you to jump right into the design process without taking the time to make templates. Each DesignPack contains:

  • 6 pre-cut 4″ squares of black paper,
  • 6 pre-printed Design Pages, and
  • 6 pre-printed freezer paper stencil templates.

The DesignPack came to life after I taught my first test class for Design Magic. While we made it though the process just fine, it was clear that we spent a lot of time making templates that could have been better used making the actual designs. Personally, I’m a lot more excited about making designs than making templates – I like to see results now! And I figured that a lot of you think the same way, and therefore, we have a DesignPack.

To answer the question about how to use a DesignPack with the Design Magic book, let’s do a quick review of what Design Magic is all about. The best way to do this is a high level overview. I’ll point out how the DesignPack contents are used along the way.

Design Magic – the Short Course

Design Magic is a simple process for creating a design, turning it into a pair of stencils, and then transferring the design to fabric with paintstiks. All of the lovely details are in the book, of course, but here is the high-level overview.

1 – Start with a square

All designs start as a simple square. I prefer to use black paper because it’s easy to see the contrast between the black paper and a white background. If you don’t have black paper, choose the darkest color you can find.

All of the designs in the Design Magic book (and our pre-cut mylar stencils) start with a 4″ square. The DesignPack contains 6 pre-cut 4″ squares. You can, of course, work with squares of a different size if that works better for your project.

2 – Cut shapes from the square

Cut one or more shapes from the square – and save all the little cut-outs. The only real rule here is that the shapes have to start and end on an edge of the square. (You can’t cut a hole out of the middle.) This example has a lot of shapes cut from the square, but some of my favorite designs are done with a single shape.

3 – Make a Design Page

The next step in the process involves arranging the shapes that you cut from the square onto a Design Page. While it’s certainly possible to make your own Design Page templates (the instructions are in the book), it’s really convenient to just grab a page from the DesignPack and start getting everything arranged.

I love making Design Pages. This is where I can first see the positive and negative images that I cut from my squares and how they interact. If a Design Page is put together properly, the white shapes on one side will be the mirror image of the black shapes on the other side.

4 – Create a repeating pattern

With a Design Page in hand, you can actually test a design on paper rather than making stencils and testing the design on fabric. All you need access to is a copy machine (or one of those lovely printers that makes copies). If you make 5 copies of your design page and cut out all the squares, you can do a cut-and-paste exercise and make a repeating pattern from your design.

5 – Review design and make changes (if needed)

Once you have created a repeating pattern from the Design Page, you can review the design and make changes if you wish. There is an entire section of the book dedicated to the review process along with tips on small changes that can transform an “ok” design into a really great design.

6 – Transfer the design to freezer paper

The next step is to transfer the shape from your Design Page to freezer paper. You can either make your own freezer paper templates or use the pre-printed templates from the DesignPack.

One note about freezer paper – it shrinks! It took me a while to figure this out, but freezer paper really does shrink when pressed with a warm iron. (And since we press our freezer paper stencils to fabric before painting, it’s important to pay attention!) So whether you make your own freezer paper stencil templates or use the templates from the Design Pack, please read the information in the Design Magic book about pre-shrinking the freezer paper. It can save you a few headaches before you get further into the process.

7 – Cut equal and opposite stencils

With your design copied on one stencil template, you are ready to cut a pair of equal and opposite stencils. Using the process detailed in the book, it’s really fast and accurate. It’s more than I can explain in a short paragraph, but the result is that you cut away the main shape in one stencil, and cut away the background in the other stencil. The pair of stencils should look just like the design page.

That’s it! You’re ready to paint!

As you can see, the process of making your own personal designs is not exactly rocket science. It’s more a matter of sitting down and doing it. The Design Magic book gives you a recipe and the DesignPack puts you in the fast lane for making great designs. DesignPacks are great for anyone who wants to make their own designs – and a huge time-saver for teachers. I know I’ll never teach another class without them!

Show us your Design Magic

Have you been experimenting with Design Magic? If you have, please send pictures! I would love to see what you are doing. You can always send e-mail using our Contact Page. If you send photos, please let us know if it is OK to share your photos on the blog or in one of our newsletters.

Happy designing,

~ Shelly

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Design Magic: Make Scrollwork This Summer!

Tuesday, July 20th, 2010

As part of my visit to Bernina University, I offered the dealers and shop owners a free DesignMagic stencil along with a free project. (More on the project at the end of the post.) I was really interested to see which of the 4 stencils (Safari, Scroll, Fractured-X or Wavy Squares) they would choose most frequently.

While all of the stencils were popular, 35% of the dealers chose the Scroll stencil to make the sample for their project. The most frequent comment was that they liked the circular lines of the design — often referred to as “curlicues.”

Here is a photo of the Scroll stencils.

When I created these designs, I was thinking about waves. (If you take one of the curly images and lay it on its side, it looks like a wave breaking — or at least it did in my mind.) But the composite image doesn’t look like water in any way, shape, or form!

Leanne (my trusty assistant) thought the images looked like Scrollwork, and that’s how the stencil got it’s name. (The discussions on names get very interesting at times — much rolling of eyes and tons of laughter as more than a few inappropriate possibilities are tossed about…) But, back to Scrolls…

I used the Scroll design for the very first project I created for the book. I made the little Scrollwork quilt at a retreat last fall. It was really an experiment to see if I could use Design Magic images with patchwork projects (instead of whole cloth), and clearly, the answer was YES! Here’s a photo of the Scrollwork quilt.

Making this quilt led to all of my “aha” moments related to the alignment guides on the pre-cut mylar stencils. when I made the blocks for this quilt, I put them on oversize blocks. Then I had to try to trim them down to size. With some designs that might work OK, but this one was a real bear. All the curves made it tough to find the “corners” for trimming the blocks to size. It was definitely one of those moments when I said “There has to be a better way!” And, of course, there was.

A number of people have asked what color paintstik I used on the Scrollwork quilt. Since there is no “burgundy” in the paintstik line, I made my own by mixing Purple Sage and Alizarin Crimson. (Crimson is a dark red, and the addition of purple tones it down to a nice burgundy.)

Before I go, I want to share one more piece that I made with the Scroll design. This is one of my Magic Mats. I painted this fabric while I was in Orlando. (I’m always happy when I can do double duty by demonstrating on fabric that will actually get used!) I used Chocolate Brown (from the matte color line) on the pink fabric.

I have finished editing the photo sequence for Magic Mats, and I promise to post the instructions shortly.

I hope you are having a wonderful summer. If a rainy day comes your way, grab a paintstik and a brush and make a little Design Magic of your own.

Shelly

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Design Magic: On Safari with Margo!

Wednesday, June 2nd, 2010

After much holding of breath and saying of prayers, the first copies of Design Magic arrived in my office just a few days before Spring Quilt Market. I felt totally blessed that the book arrived in time — and that Spring Market was held in Minneapolis this year. We’re just a few hours away from the Twin Cities, so I didn’t even have to drive as far as the airport.

Once the book arrived and everything was packed, I decided to take a few hours to make something special for myself using the cover fabric from the book. I’ve already worn out the Primrose tote that started my Design Magic adventure, so I decided to make the new Margo bag from my good friend Joan Hawley at Lazy Girl Designs.

Margo is a delightful bag with a zipper at the top — and leave it to Joan to figure out such an easy method for adding a zipper! Margo is a little bigger than I would normally make for a purse (I like them SMALL so I don’t carry too much junk…) but she is going to be perfect once my iPad arrives.

I used the Safari design and a Grape (matte color) paintstik to paint this beautiful piece of hand-dyed fabric. As soon as I finished, I knew it was perfect for the the cover of the book, and I have to say that it made a fabulous bag as well. I had a hard time cutting into this piece of fabric to make something I’m sure to wear out, but hey –  what good is beautiful fabric if it just sits in the closet? If I wear it out, I’ll just have to make a new one!

More about the Safari Design

Matthew Mills, my very talented graphic designer, created the Safari design for me when I was working on the book, and I have to say it is one of my favorite designs. The design is printed in the book so you can make freezer paper stencils from it, or you can purchase our pre-cut mylar Safari stencils. The mylar stencils have several advantages — they are already cut (of course!), you can see through the mylar, and all the alignment guides are etched into the stencils to make your life easier as you paint the images on fabric. Here is a picture of the Safari stencils. (You can see all the new stencils on our New Products page.)

And here a closer look at the Safari design on a piece of the Gradations fabric from Benartex.

I used this set of stencils to make the On Safari quilt project that is included in the Design Magic book.

On Safari is a super-simple quilt. The 4 large panels are painted on fat quarters that are then trimmed to size for insertion in the quilt top. I just quilted in the grid lines. I was surprised how many people at spring market thought it was appliqued or pieced.

At any rate, you can go on your own Safari Design Magic adventure. Make a Margo bag, make a quilt, you decide! Whatever you choose, it will be lots of fun.

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Deisgn Magic: Primrose Projects

Tuesday, May 11th, 2010

In my last post, I introduced my new Design Magic book. It’s due in from the printer any day now, so you can imagine that I’m waiting on pins and needles! Did I mention that I hate waiting??? In the mean time, I want to tell you more about the book.

Design Magic is a really great way to make your own designs, turn them into freezer paper stencils, and add the designs to fabric by stenciling with paintstiks.

Freezer paper stencils? Yes, freezer paper stencils. While they don’t last forever, freezer paper stencils are much more durable than you think — I really pushed one set and used it more than 50 times before it was really worn out. As a matter of fact, I used freezer paper stencils to make most of the samples in the book, including the queen-size Woodland Flowers Quilt.

And as much as I love freezer paper stencils, there is an outer limit to how long they last, and that means you have to make multiple sets of stencils for a very large project. I like making stencils (it’s really quite easy), but even I was a little annoyed after making the 4th set of stencils for my big quilt. I decided there had to be a better way.

It took a few months and a series of samples from my very patient and understanding stencil company, but I figured out a way to make pre-cut mylar stencils from Design Magic designs. And I liked them so well that I decided to include one set in the Design Magic book. (I chose the Primrose set for the book because I used it for the big quilt — and that was the design I was working with when I figured out how to make the Design Magic process work.)

So, you get the best of both worlds. If you like the idea of designing your own fabric, the Design Magic book gives you a neat method for making your own designs, creating stencils, and transferring your designs to fabric.

If you just want to paint, you get a set of pre-cut mylar stencils that can be used to make any of the projects in the book — as well as any that you can dream up — without the work of making stencils. Here’s a photo of the Primrose Stencils.

And here are a couple of Primrose images stenciled on a piece of Gradations fabric.

As you can see, the Primrose stencils form a stylized floral motif when they are painted in a repeating pattern. They can be painted in a single color or multiple colors. I really like painting on the Benartex Gradations fabric with a single paintstik. I used a blue/turquoise variation of this fabric to make my Primrose Tote. (Confession: The book does not include instructions for this tote. I used some very basic instructions from an old magazine article and re-sized the bag to fit my painted fabric. You could do the same using your favorite tote bag pattern.)

If the fabric is not changing color, I like painting with multiple colors. Here’s a piece in progress that I was painting with bright colors.

This bright and cheerful fabric will make a wonderful wall quilt or pillow cover for a room that needs a splash of color!

As you can see, there are plenty of wonderful possibilities for the Primrose design that comes with each copy of the Design Magic book. In the next post, I’ll introduce you to additional Design Magic stencils.

As always, happy painting!

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Stencil with Modeling Paste ~ Playing with Stencils 10

Monday, February 22nd, 2010
Susan Stein

modeling_paste_triartModeling paste is a fascinating art material that can be used on fabric. It can be applied quite heavily, yet it remains flexible when it dries. You can stitch through (dry) modeling paste without damaging needles or your sewing machine — it’s a very interesting tool for adding dimensional texture to your fiber art.

Supplies:

~ Maple stencils [Cedar Canyon Textiles]
~ Flexible Modeling Paste by Liquitex®, Tri-Art® or similar [art or hobby store]
~ Palette knife
~ White fabric, 10” by 12”
~ Dye-na-Flow™ paint by Jacquard
~ Sponge brushes
~ 8” by 10” stretched canvas [art or hobby store]
~ Adhesive spray such as 404 [Spray and Fix]
~ Copper foil [art or hobby store]
~ FabriTac™ glue, masking tape

Step 1

Spray adhesive onto the back of the stencil and let dry.  Press the stencil onto the fabric.

Step 2

modeling_paste_1

With a palette knife, smooth modeling paste into the openings of the stencil, making it thick and smooth.  Remove the stencil and let the fabric dry.

Step 3

modeling_paste_2

With two or three colors of paint, brush over the dry modeling paste and background fabric.  Spray with water if you want more blending-plenty of liquid, allowed to work on its own, will give you attractive and unexpected results.  Let dry.

Step 4

modeling_paste_3

Wrap the painted fabric around the stretched canvas folding in the corners neatly. Tape the fabric to the back of the canvas.

Step 5

Cut a piece of copper foil 38” long by 1 ½” wide.  (If your canvas is more than 3/4″ deep, cut a wider strip of foil.) Starting in the center on the bottom edge, wrap the copper around the edges of the stretched canvas, with ¼” showing on the front and ½” showing on the back, mitering the corners.  Glue the front edges down and tape the back edges in place.

modeling_paste_sample

You now have a lovely piece of framed art.

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Foam Tray Printing ~ Playing with Stencils 9

Monday, February 15th, 2010
by Susan Stein

tray_printing_smallHere’s a great use for the foam trays that regularly make their way into our kitchens. Use stencils to turn them into printing plates. With a few colors of thick liquid paint, you can make beautiful prints on fabric.

Supplies:

~ Stencils [Cedar Canyon Textiles]
~ Foam meat tray or to-go box with unmarked surface
~ Craft knife or scissors
~ Ballpoint pen
~ Fabric
~ Paint with body like Lumiere™ or Neopaque™ by Jacquard
~ Sponges or sponge brushes
~ Old terry towel, rubber carpet pad, or newspaper to provide a cushion for printing
~ Plastic cover for printing pad

Step 1

tray_printing_1

Cut off the edges of the foam tray so you have a flat surface.  Tape the stencil to the foam (or spray the back of the stencil with adhesive spray and adhere the stencil to the foam.  Outline the stencil openings with a ballpoint pen, making the lines about 1/8” deep into the foam.

Step 2

Place a printing pad on your work surface and cover it with plastic. Tape the fabric to the plastic covering your printing pad so you can pull the print easily without smearing it.  If you are working on newspaper instead of a printing pad, you can just tape the fabric to the paper.

Step 3

Sponge paint onto the foam, using as many colors as you like.  Work quickly so the paint stays wet and make sure the layer of paint is consistently thin so it doesn’t fill in the lines when you print.

Step 4

tray_printing_black

Turn the foam face down on the fabric and rub over the back with your hand until the paint transfers to the fabric.  Pull the foam off carefully and let the paint dry.  Heat set the painted fabric with an iron.

The first print will be light because the foam needs to be coated a couple of times before it will release the paint to the fabric.  Have several pieces of fabric ready to print and pick the best one for your project.

tray_printing_white

Here is the same print on white fabric.

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Add Flash with Foil ~ Playing with Stencils 8

Monday, January 25th, 2010
by Susan Stein

foil_LMDShiny foils are a wonderful way to add glitz to your fabric art project. Foils will adhere to fabric with a special adhesive or with fusible web. Please note the care instructions at the bottom of the post, as foils are not as durable as many other embellishments.

Supplies:

~ Maple Stencils [Cedar Canyon Textiles]
~ Fabric
~ Foil for fabric [www.LauraMurrayDesigns.com]
~ Foil Transfer Adhesive [www.LauraMurrayDesigns.com]
~ Sponge or sponge brush
~ Spray adhesive like 404™ [Spray and Fix]
~ Iron, preferably one with Teflon™ coating
~ Ironing surface

Step 1

foil_1_adhesive

Spray adhesive on the back of the stencil, let dry, and press onto the fabric.  Fill in the openings in the stencil with foil transfer adhesive.  As with all liquid products, dab up and down when stenciling, so as not to push paint or adhesive under the edges of the stencil openings.  Let dry thoroughly (several hours).

Step 2

foil_2_iron

Place the prepared fabric on the ironing surface and lay a sheet of foil- color side up- over the adhesive design.  Using the side edge of the iron, burnish over the foil sheet three or four times.  Let the fabric cool a bit and then peel off the foil sheet.  If there are some areas of adhesive not foiled, take a second color and repeat the burnishing process.  It works well to use foil sheets that are beat up and have only thin layers of foil left on them so that the image has nuance and more colors can be used.

foil_3_results

Here are a two fabrics with foil applied.

Care Instructions

Care for the foiled fabric by hand washing.  Do not dry clean.  Always use parchment paper or a Teflon press sheet when ironing over the foil.

Foil with Fusible Web

Another way stencils can be used with foil is to use them to cut out shapes from Wonder Under.  Trace a design on the paper side of the fusible web using the stencil, cut out the motif, iron it to fabric, remove the paper, and foil the adhesive as described above.

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Gelatin Printing with Stencils ~ Playing with Stencils 7

Monday, January 18th, 2010
by Susan Stein

knox_gelatine_01

Gelatin printing is an fun and process that allows you to make interesting, more organic images from stencils, found objects, and paint. The images produced are not as clean and crisp as images created from other techniques – but that’s the point! For a delightful day of image making, make yourself a gelatin printing pad and have a great time with your paints.

Supplies:

~ Various stencils [Cedar Canyon Textiles]
~ One box Knox® unflavored gelatin
~ 8” square cake pan or similar
~ Textile paints with body like Lumiere™ or Neopaque™ [Jacquard]
~ Retarder or open acrylic medium for paint (allows longer working time)
~ Sponges or sponge brushes
~ Fabric
~ Spray bottle of water
~ Soft paper towels
~ Knife or palette knife

Step 1

gelatin_print_1

Make a gelatin printing pad by pouring one cup of cold water into an 8” square pan.  Pour the contents of all four envelopes from the Knox gelatin box into the pan and stir to partially dissolve.  Add one cup of very hot water to the pan and stir to completely dissolve the gelatin.  Refrigerate the pan until the gelatin is set.

If your pan has low sides, you can work without removing the gelatin but if your pan has high sides, run a knife along the edges of the gelatin to introduce air underneath and dump the gelatin onto a plastic covered table.  If your pan has a pattern on the bottom, turn the gelatin over to expose the smooth side.

Step 2

gelatin_print_2

Mix a small amount of paint with retarder, which will keep the paint viable longer.  With a sponge or sponge brush, cover the gelatin with a layer of paint.  If using a brush, be careful not to drag it over the gelatin, causing the gelatin to break up sooner.

Step 3

gelatin_print_3

It is possible to get three prints from each set up of paint:
Place the stencil over the painted gelatin and drop a piece of fabric on top.  Rub gently with your hands to transfer the paint to the fabric and carefully lift the fabric off the stencil and gelatin.  Place to the side to dry.

Lift the stencil off the gelatin.  Since it will have paint on the back, it can be used to make a negative print.  Carefully drop it down on a piece of fabric and rub the paint onto the fabric with your hands or a brayer.  Remove the stencil and allow the fabric to dry.

The gelatin will now have paint exposed in a negative pattern with a faint amount of paint in the positive area of the design.  Drop a piece of fabric down on the gelatin and rub over it with your hands.  Pull the fabric off the gelatin and let dry.

If there is any paint remaining on the gelatin, either leave it to add interest to the next paint set up, or spray lightly with water and wipe clean with a paper towel.  When your painting session is finished, return the gelatin to the refrigerator for another time.  When the gelatin starts to deteriorate, (sooner in hot weather) tear it apart and continue to print with the pieces.

Step 4

Heat set the painted fabric by ironing it for 3 minutes.

results_leaf_stencil

This photo shows the gelatin prints from the large Birch leaf stencil.

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Alcohol Ink on Copper ~ Playing with Stencils 6

Monday, January 11th, 2010
By Susan Stein

Some coloring agents are not meant to work on fabric, but that doesn’t mean that quilters can’t play with them! In today’s lesson we’ll be using Alcohol Inks, which are made specifically for non-porous surfaces. These inks are very different that the textile paints that we are more familiar with, so take some time to play with them. I’m sure you’ll find ways to integrate them into your personal art!

Supplies:

ai-shellpink~ Birch Leaves stencils [Cedar Canyon Textiles]
~ Thin copper sheeting [hobby or art store)]
~ Ball point pen or pointed stick
~ Alcohol ink, 3 colors [Adirondack]
~ Acrylic felt 9” by 12”
~ Tool for embossing metal (optional)
~ Goo Gone™ citrus cleaner
~ Q-tip
~ Spray fixative

Additional Supplies for Wall Hanging

~ Fabric (border, binding, backing)
~ Sewing machine
~ Thread
~ Batting

Step 1

alcohol_ink_1

Lay the copper piece on the felt and adhere the stencil to it with tape or spray adhesive.  Draw around the stencil with a ballpoint pen or pointed stick to indent the metal.

Step 2

alcohol_ink_3

Paint the copper (either side) by dripping alcohol ink onto the leaf motif.  The ink works differently from other paints, so play with the possibilities.  If some ink goes outside the lines, wipe it off with a Q-tip and Goo Gone.  Let dry.

Step 3

Heat the copper if you like brighter color by holding a heat gun over it until it changes color.  Spray the metal on both sides with fixative to seal the copper and prevent it from oxidizing.

Bonus – Create a small art quilt!

Art Quilt Step 1

Add borders to the copper piece, using a long stitch length and sharp needle.

Art Quilt Step 2

alcohol_ink_finished

Layer with batting and backing.  Quilt across the borders and copper around the leaf, which will raise the leaf slightly higher than the background.  Bind the edges.

Art Quilt Step 3

alcohol_ink_4

Use the embossing tool to make patterns on the background of the copper if you like.

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Elegant Copper Patina ~ Playing with Stencils 5

Monday, January 4th, 2010
By Susan Stein

Copper mesh may not be at the top of your quilting supply list, but it’s a great addition to your art quilt tool box. Yes, you really can stitch through copper mesh (and thin copper sheeting) without damaging your sewing machine or needle! In today’s lesson, we’ll create a patina on the copper mesh with Liver of Sulphur and then turn the embellished mesh into a small art quilt.

Supplies:

liver_of_sulphur~ Birch Leaves stencils[Cedar Canyon Textiles]
~ Liver of Sulphur [www.DickBlick.com]
~ Small spray bottle
~ Stamped copper wire mesh [hobby or art supply store]
~ Masking tape
~ Spray adhesive like 404™ [Spray and Fix]
~ Dust mask
~ Artist’s fixative like Krylon™ [hobby or art supply store]

Additional supplies for small wall hanging:

~ Double fold black bias tape, ¼” wide
~ Three fabrics to coordinates (one for binding)
~ Backing fabric
~ Sewing machine
~ Walking foot for sewing machine
~ Black thread
~ Thin batting
~ Copper leaf button (optional)

Step 1

Dilute the Liver of Sulphur according to the directions on the bottle.  Place it in a small spray bottle and label with masking tape.

Step 2

liver_of_sulpher

Tape the copper mesh to a plastic surface.  Work in a ventilated area or outside.

Step 3

Spray the back of the stencil with adhesive and let dry.  Press the stencil onto the copper mesh.  Mask off any areas with tape that you don’t want to use. (In the photo above, the mesh appears to be on top of the stencil, but it’s not. It’s just that the stencil is very translucent.)

Step 4

Wearing a dust mask, spray the openings in the stencil with Liver of Sulphur.  Let dry and then wash the copper with soapy water and dry, being careful of the cut edges.  Spray the copper with artist’s fixative on both sides to protect the copper from further color changes over time.

Bonus! — Create a small wall hanging from your stenciled copper mesh.

copper_mesh_sample

Wall Hanging Step 1

Cut the copper mesh with an old rotary cutter to the desired size.  Encase the edges of the mesh with double fold bias tape, mitering the corners and leaving a tail of bias tape.  Sew along the inside edge of the bias tape all the way around the copper piece.  Use a “sharp” sewing needle (it will not be damaged) and a longer stitch length.

Wall Hanging Step 2

Layer a background fabric, batting, and backing fabric.  Pin or use fusible batting with steam to hold the layers together.   Add a smaller accent fabric to the background, sewing 1/8” from the edge of the accent fabric through all the layers.

Wall Hanging Step 3

Lay the bound copper piece on the accent fabric, extending the tail of bias tape to the edge of the background fabric.  Topstitch the outer edge of the bias tape all around the copper piece and on both edges of the tail.

Wall Hanging Step 4

Bind the edges of the wall hanging and hand sew a copper leaf or other embellishments on.  Sew two small rings on the back for hanging.

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