Hold Still Please

[Nell L'Evienne]

First Cycle of Imperos, Summer XVII

She had been late back from archery practice for it had extended into a visit to the stable and on seeing Chocolate look so beautiful groomed, and with the groom saying that he had been about to take the gelding out for exercise, it had been a small step for Nell to mount up and take the fine animal for a canter through the parklands. Consequently it was a later candlemark than usual when she'd returned to the Palace and Nell sauntered along to the nursery still in her archery gear, rather sweaty but exhilarated from her ride. The nursery was empty of children, but two maids were there tidying up the room. Nell smiled, wondering which quarter of the palace her brood were terrorising. "Where are the children?" she asked Agnes.

"With His Royal Highness, I believe," Agnes replied. "On a trip to Chelseanna for the brightening."

Nell looked puzzled for an instant and then switched into a smile. "Ah yes, completely slipped my mind," she said pretending that she'd known all along and backed out of the nursery. She was used to it to some extent, the children being whisked away. And Milo had as much claim, nay more considering the past, to do so without a word to her. Likely, she told herself, they couldn't find her and time was moving on. Yet she was still rather subdued as she returned to the master bedroom to change. What should she do with her brightening now?

Several choices of dress had been laid out and Nell considered a trip into Aelyria Prime for which the golden yellow sundress would be perfect, complete with parasol. But it just didn't feel like a brightening for shopping. No, she would spend the brightening in the artists studio. She had no appointment with Mistress Dulaine, but there were some canvases to finish and she could start a new one too. It was a quick change into the cream shirt and green skirt that had become her painting gear, and after a brief hunt for her sketchbpad which she'd left in the library, Nell stopped in the kitchen to grab a peach to eat en route to the tower.

Nell idled her way along, flipping pages of the sketchpad over to review her drawings as she occasionally took bites of the peach. The drawings were a mixture of simple line drawings and more detailed sketches, ranging from passable to pretty damn well good, even to her self-critical eye. She was particular pleased with a still life of some of the children's toys sketched as they'd lain in a heap after being discarded onto the nursery floor. And as she neared the stairs that would lead to the top of the tower she flipped the pages back to the start, to be faced with one of her first drawings - the horse's head.

Oddly, she felt guilty. That particular canvas had never been returned to since the first brightening in the studio, remaining an outline of the horse with some messily wiped smudges of colour in the background. It seemed unfair to the horse, her first intended subject to remain unfinished. "Okay, let's do you properly," Nell thought, and changing direction she took the nearest door out into the gardens and made her way back over to the Royal Stables for the second time that brightening. Another sketch would be needed, this time with shading to guide her once she was back up in the studio. And with her course set, Nell chucked the peach stone into a nearby bed of roses and strode on.

[Nell L'Evienne]

It had taken a little time to find the same grey mare in the paddocks of the royal stables, but now stood in the shade of a tree Nell was busily engaged in sketching the mare. The sunlight was bright, warm and inviting, yet her subject was proving troublesome. The mare was busy grazing, pulling at the grass with regular chomps and moving steadily around.

"Hold still please," Nell said, gritting her teeth as the mare turned around once more to show Nell her flanks and backside rather than her head.

Her charcoal flew faster and faster over the paper, trying to get what she saw down before she was forced to move place again. Various outlines were drawn, some done piecemeal and others attempted with Nell not taking her eyes off the horse and her hand moving intuitively over the page. The results made her giggle. In the end, Nell flipped back to the original sketch that had been used as the cartoon for the canvas. She could at least try to shade this particular sketch? That would help her back in the studio. Again it proved difficult for as the mare moved so did the shadows on the mare's neck and face as she turned in the sun. After much enticing with handfuls of long grass to get the mare to stand in a particular spot for longer than a minute, something akin to a finished sketch was managed.

"You are hard work," Nell said admonishing the mare with a smile as she patted the horse's neck. It was as she walked back to the palace that Nell thought of a subject that would hold still - indeed a subject that tended to not move for hours apart from a stretch and a resettling back into rest. The suncats! The three lazy residents of the royal apartments who could be found laid out on any imaginable surface that could bear their weight and size at most times of the brightening. She recalled Mistress Dulaine's delight at a sketch of one of the suncats and resolved to try another.

[Nell L'Evienne]

Finding the suncats didn't take too long. They had claimed a bench out on the terrace, shaded from the sun but with the fresh air of summer to keep them cool. Not any old bench of course. This one had a cushioned seat made from rather lovely material probably chosen by an upholsterer who likely didn't have suncats in mind as the chief occupiers of the seat. With one suncat taking the left side, and one taking the right, the last was underneath the bench seeming to prefer the cool tiles of the terrace to the soft seat of the bench - or maybe he had just been ousted by the females for it was Ubean underneath while Luna and Isa took the prime positions.

Nell pondered where to sit herself to get the best view of the trio for her sketches. Luna had taken the right side of the bench and was flat out on her side in heavy sleep. Isa was more carefully composed, her head resting on her paws and her ears flicking at the sound of Nell moving about. The young woman fetched a cushion for herself from indoors and then sat down on the ground in front of the bench, sketchpad and charcoal at the ready. It was at that point that Ubean woke up and moved away to a corner of the terrace where he reslouched onto the ground against the wall.

"Fine, fine ..." Nell muttered, and looked at the other two. Luna was still asleep and Isa... Isa was awake but hadn't moved, her amber eyes staring directly at Nell in question. Nell raised an eyebrow back at the suncat and decided to focus on Luna who was ignorant of being chosen as a subject for art.

She began to sketch the suncat, bending over the sketch pad so that when she looked up, Luna was level with her eyes. Being in the shade, there was little contrast to note but the pose was appealing, with her paws crossed over and her eyes shut in peaceful sleep. Nell tried to focus on the shapes she was seeing rather than drawing what she thought she saw. She began to note how the golden hue of the coat changed and mixed into grey, the light areas of white around the muzzle, the markings around the forehead and eyes. As she had found before with the horse's head, the ears gave her the most trouble and they were in the end a rather smudgey mess so she ended up sketching that part of Luna again separately, hovering above the main drawing.

The whole process took half a candlemark during which time Luna had held still beautifully, barely moving to breath. Very pleased, Nell shuffled around on the cushion and started to work on Isa, ignoring the rather disconcerting gaze of the suncat. The shadows of the terrace had moved in that time and Nell could feel the sun on the back of her head, the light starting to skim the top of the bench. "Stay just like that," Nell murmured to Isa, actually hoping to capture the expression of 'what do you want' that was so obvious in the suncat's eyes. At one point, Nell thought Isa was going to move away for she stretched out her paws to flex her claws, but resettled back into the same pose. Not for too long though as the sun began to touch the backs of the suncats and then without a thought for Nell's sketch, Isa was up and moving, disturbing Luna and in a few moments they were both gone, heading indoors in search of food.

Nell looked at her sketch. She had enough to work with, and following the suncats' lead went indoors herself.

[Nell L'Evienne]

It was a candlemark after midbright when Nell arrived at the studio at the top of the tower. Mistress Dulaine was nowhere to be seen, but a young man with bright orange hair grinned a greeting. It was Jaffa, one of Leila's apprentices whom Nell had met more properly on subsequent visits to the studio when Jaffa hadn't been stranded at the top of the scaffolding. "S'rale, Your Highness," he said cheerfully. "Can I help you?"

"Serale, Jaffa," Nell replied warmly. "I think I'm going to finally work on that portrait of the horse. But also I'd like to start on two other portraits of the suncats. Would you help me prepare the oil paints, please?"

"Aye, Your Highness, that I will," Jaffa said. "What size would you be wanting for the canvases for the suncats?"

"Oh ... um... about this size," Nell said vaguely holding her hands out to roughly indicate the dimensions. Jaffa grinned and beckoned to Nell to follow him.

"Here, let me show you where we store the prepared canvases," he said leading Nell back out of the studio to the covered stairs that twisted down the side of the tower. "Then you can have a good look for what you want whenever you like, if no one else is around." He led Nell down the stone stairs and stopped at a door in the wall that would open into a room directly under the studio. It was dim in the room, there being very few openings to let in the light unlike the studio, and those openings being covered with closed shutters. Jaffa lit a lantern and held it up so Nell could see more clearly. She gaped at the sight. The place seemed stuffed with supplies, piled high on freestanding shelfcases formed into ever decreasing circles with a pathway that cut across their diameters. "The prepped canvases are along her to the left on the first circle," Jaffa continued, showing Nell where they were and pointing to a particular level where small canvases were stood up on end to be easily pulled out.

"There's so many," Nell murmured, beginning to select two of the size she wanted.

"Aye," Jaffa replied cheerfully. "When we've nowt else to do, Mistress has us make and prep canvases so ... fair few done. Some of them we sell onto other artists or supply stores. Some folk don't want to spend time making them."

"Like me?" Nell said lightly, with a laugh.

"Um ... aye," Jaffa replied sheepishly. "Here, let me carry 'em for you, Your Highness," he continued. Nell relinquished the two selected canvases and went with him back to the doorway. She had an urge to stay in the storeroom longer to investigate what other things were stored in there but the lantern was already extinguished and Jaffa was holding the door open for her.

"Thank you," Nell said and stepped outside to return to the studio above. "Perhaps you can show me how to make a canvas properly one brightening," she said.

"Aye, Your Highness, that I can do," Jaffa replied, and in the light of the suns outside Nell saw he was still blushing a furious red from his faux pas.

[Nell L'Evienne]

Back in the studio, Nell was grateful for Jaffa's assistance as he helped her set up her paints and palette so she could begin painting. The old canvas that had the horse's head sketched lightly on it from her first lessons was propped up against the table where she had left it and looked rather neglected for she had not looked at it since then, having been drawn into other paintings in the interim. The ones she had finished, the first apple and a series of other small canvases containing still lifes she had completed in the studio rested upright against the lower wall. They had mainly comprised of arrangements of fruit or other objects, including some of the children's toys and a rather unsuccessful attempt at some tall stemmed lillies in a glass vase half-filled with water.

Nell dithered. She really wanted to get on with the new subjects of the female suncats, but the outlined sketch of the horse gazed rather forlornly at her each time she looked at it. "I feel bad for putting this one off for so long, and really I want to start a new canvas this brightening," she said to Jaffa as he brought over another small dish with fresh paint inside.

The man looked at the canvas she referred to. "Aye, Your Highness, but when inspiration strikes ye want to grab it while ye can, eh?" he replied. "But how about if ye were to prep the canvases for the other paintings and while they're drying, do a bit of the horse?"

She looked at Jaffa quizzically. "Aren't these canvases already prepared?" she asked, looking at the two they had brought up from the store room, both a brilliant white from their initial coating after the application of glue to seal them.

"Aye, they are but," he replied and hesitated. "If ye'll permit me to give ye a tip? Painting onto a white surface is not always a good way to start. Something about the light, it can make it hard to judge the tones cos the light is like ... bouncing off the canvas at ye, dazzling ye a bit. So if ye do a thin layer of paint in a hue that's common in the subject, or even just a grey, a mid tone, then it makes the contrasts and such easier to judge and it also gives ye a base of a colour that ye would be using already. And if ye do it real thin, so mixed with a fair bit of the turps then ye can still see the outline through it too and it dries real fast."

Nell smiled slowly. She had a faint wondering about why Mistress Dulaine hadn't told her about this, but likely it was for the same reason that Master Gaelro hadn't started her off on a composite bow. Little was learned if everything was made too easy. And Nell's head had been full to bursting with information about colours and shades and tones and contrasts and so on during her initial lessons in the studio.

"Tell ye wot," Jaffa continued happily, "if ye do the underpainting for the horse first, then the outline sketches for the suncats onto their canvases and then their underpainting, ye'll have made a fine start and likely the horse canvas will be dry enough to continue on with after all that."

Nell grinned. "I am so very glad you are here, Jaff," she said, "as that sounds like an excellent plan! So, I need to mix a grey hue for the .... the underpainting for the horse canvas," she continued, picking up her palette that had various splotches of the basic hues dotted around its perimeter and reaching for the palette knife.

"Aye, Your Highness, but," and here Jaffa looked a little sly, "ye can save those fresh oils for now and instead use some of the preserved oil paint wot I've got over here." The redheaded man beckoned Nell over to the mixing table and pointed to a small trough like container underneath one end. On first glance it appeared to be filled with water. And so it was, but inside was something else. Jaffa reached in and lifted out a long glass tray on which was a small mound of grey oil paint.

"Oils don't mix with water, ye see," he explained, "so when I'm done painting for the day, rather than waste what's left over on me palette, I mix it all together and it makes this lovely grey wot I then keep fresh in the water. It don't react with the water and it don't dry out cos its not in the air." He grinned at Nell, very pleased with himself. "Just gotta thin it out with turps and then ye can cover the canvas with it quick sharp with a mop brush."

And so she did. Storing away these tips in her mind to reuse, Nell made quick work of the underpainting for the horse canvas and then replacing that canvas with one of the fresh ones, found some chalk and started to do the outline of the first suncat. That, however, took a little longer to complete.

[Nell L'Evienne]

As she continued to struggle with copying the outline of the first sleeping suncat onto the canvas, Nell realised that she really needed to spend a lot more time in the practice of sketching. After all, what was the point of being able to identify hues and shades and contrasts etc etc if you couldn't even get the subject onto the canvas with a chalk outline? She viewed her progress so far critically. A bit of a mess was the verdict with a number of false lines and smudges but the general idea was there. She comforted herself with the thought that at least with oils you could wipe away mistakes with the rag and turps, or scrape them off or even paint over them later on. The underpainting for the horse head still wasn't dry enough to continue on top of, so she swapped the canvases over and, staring at the expanse of white that was to receive the outline of the second suncat, sighed. Now she knew why Leila had quickly done the sketch on the canvas for her in her initial lessons.

The sound of the sigh caught Jaffa's attention. He quirked an eyebrow at Nell over the top of the canvas that he was working on at the other side of the studio. "Everything all right, Your Highness," he asked.

"Yes, fine," Nell replied. "I'm just not that good at drawing so ... but yes, all is fine. I just have to practice more." She shrugged and smiled ruefully, rolling the red chalk between her index finger and thumb. "Bit demotivating is all, when you know what you want to do, but you're not good enough to do it yet. Oh, no, I wasn't meaning for you to..." she continued as she saw the man start to come over to where she was sat. "I mean, I should do this myself or I'll never learn."

"True," Jaffa agreed. "But I could give show you a way to make it easier. I mean, you've done the sketch already and it looks smashing. So you're just wanting to get it onto the canvas quickly so that you can start to paint..." He grinned broadly at Nell.

"Would Mistress Dulaine approve of what you're about to suggest?" Nell asked with an amused smirk.

"Probably not," Jaffa conceded. "But it's what we do for our fresco work to get the cartoon onto the wall surface. Can't see a reason why same can't be applied to canvases. This sketch is the actual size you want for the subject of the painting, yeah?"

Nell nodded, intrigued as Jaffa took the sketch and laid it on the table top. "For frescos, we make pinpricks on the lines of the cartoon then with the cartoon against the wall, we bang a bag of soot against the cartoon so ..."

"So when the cartoon is taken away there's an accurate outline left behind. But won't this make a mess of the sketch?"

"Might do," Jaffa replied, "and it'll still take you a while to do but might be less frustrating."

"Promise you won't tell Leila?" Nell asked, liking the idea.

"Cross me heart, Your Highness!" Jaffa said with a wink. "We can use some ground red chalk instead of soot. I make that up and you can start on making the holes."

[Nell L'Evienne]

Although she couldn't quite shake the feeling that she was cheating, Nell was more than happy with the result and with a little clarifying of some of the lines, she then quickly made up a thin paint of mix golden beige for the underpainting of the two suncat canvases and applied it with a mop brush. That done, she checked the horse canvas and found that the underpainting had dried sufficiently for her to be able to paint on top of it without the next layer blending into the first. She fixed it into place on the easel then studied the sketch that she would be working from.

It's all about tone, she told herself, noting the high contrast between the dark around the horse's muzzle and the flash of white down the length of the mare's face for the sun had been shining brightly on the horse. Work from dark to light, she told herself, thinking about the advice from her initial lessons. Block in the main areas, blend, using paint mixture slightly thinned out ... how had Leila phrased it again? Fat over lean ... that was it. The layers of paint gradually containing more of the oil so that when drying there would be no cracks.

With her palette resting on her left arm, brush in her right hand and sat perched on the stool, Nell smiled at the faint outline of the mare on the canvas. "Sorry you've had to wait so long," she murmured to it and without further ado she dipped the brush into the near black mix of paint and began to apply it to the canvas, to block in the horses muzzle. Perhaps it was because it had been so long in coming that Nell worked at the painting with confident diligence, making quick work of the first part before wiping the brush clean to start on the mid grey areas and then the lightest grey that was almost white. She dabbed the paint on trying to not leave any brush marks behind except for the mane where she used downward strokes to imitate the direction of the horsehair. The she took a fresh brush and started to blend the edges together, back and forth in a crosshatch, then over them again. The final result looked like a horse, but misted over. Tomorrow, when the paint had dried enough or maybe the brightening afterwards, she could start to refine it with the next layer.

For now though, she had to clear up her mess. Which she did, albeit with more than a little help from Jaffa. Time was passing and she needed to be changed and ready for when Milo and the children came home from their trip to the villa. With profuse thanks for all of his help, Nell waved to Jaffa and left the studio for that brightening.

[Nell L'Evienne]

The next brightening Nell discovered that the paint was not quite dry enough to start the next layer of the grey mare's head, yet there was still the background to paint. Not confident enough to paint in a realistic background and also having no sketch to work from for such, she decided to go with a simple block of colour in three tones, working from dark on the outside to lighter next to the mare. Carefully she mixed the paints together until the three different shades of the green sat in a row in the centre of her palette then began to block them in, working from dark to light. It was a quick and easy task with there being no worries about getting shapes right, and with the emphasis thrown to the top and front of the horse with the lightest shade, she blended the different shades together where they touched. A very fine line of the darkest hue was taken along the outline of the head where the background was the lightest and carefully blended to give more definition to the shape of the head.

As that was as far as she could go with the canvas for that brightening, she changed it over for one of the suncats. It was Luna, flat out on her side and asleep on the bench. The sun had played on Luna's exposed body, yet her paws and face had been out of the direct path of light. Nell would need some grey, several shades of it really, for the paws with their pads visible and some touches of grey on the face, around the eyes and muzzle, a little on the ears and perhaps even for the fur on the underside that was in shadow. She wondered over to where Jaffa had shown her the previous brightening some already mixed grey paint and seeing some submerged in the trough of clear water, Nell lifted the glass tray out and smiled. It would be perfect with a little black or white added to vary the tone.

Nell took her time dabbing the paint onto the canvas. There would be no broad strokes for this detailed work on the paws so small strokes, barely making contact with the canvas before the brush was lifted away were used. Nell resolved to blend the paints less this time, or rather be more precise in the blending. She couldn't after all keep producing work that looked like a veil had been laid over the top and she wanted the suncats to be recognisable so that one would see when looking at this painting that it was actually Luna and not Isa or Ubean. The only place where she would allow her brush to flow more freely would be in the rendition of the bench that framed the suncat and where the fur feathered more.

That part completed, she wiped the brushes clean on the rag and began to mix the hue for the golden brown that gave the suncats their name. Checking the tones on her sketch, she noted that the darkest tone was the same as the mid tone of the grey and the midtone of the brown was the same as the lightest grey. Rather than mix the colour from primary colours she wandered over to the mixing table and began to investigate what other pigments were available, hunting for something that would be akin to the basic hue of the suncat's coat. The pigment store was a little treasure trove of discoveries and with Jaffa's help it wasn't long before Nell was set up with something that was perfect. Engrossed in her work, she began to work on Luna's coat.

[Nell L'Evienne]

This brightening she would finish the horse's head, of this Nell was determined. She had ended the previous session blocking in the background to the sleeping suncat and left the studio satisfied with her progress. On her return she grinned broadly for Leila was present and it was always a joy to be around her infectiously sunny personality.

"Ah, Your Highness! Serale!" Mistress Dulaine trilled out in greeting as she saw Nell enter her domain. "I see you've been busy! Lovely work! I think you are becoming more ambitious with these portraits of His Royal Highness's cats."

"I couldn't resist," Nell replied, noting that the eccentric bard of the palace had adopted colourful feathers and shells into thin braids that were sprinkled through her white hair. With her feet bare as usual, the tribal coiffure gave her a hint of barbarian that sat in complete harmony with the rest of her attire rather than being an oddity. Nell joined Leila to look at the canvas still on the easel. It was like a patchwork of blocks of colour but for the initial layor of the portrait it was clear what the subject was and if this had been Nell's first painting she would likely have been satisfied to achieve that much. But no, Luna deserved a better rendition. And whiskers. For at the moment she was bereft of them in the portrait.

"But also I am finishing the grey mare too," Nell added with a gesture to the canvas that was resting on the nearby table top.

"Ah, yes, yes, very good. Glad to see you remember that one," Leila said with an appreciative nod towards the canvas, but it was obvious that she was more taken with the view of Luna asleep on the bench.

"Jaffa's been very helpful," Nell added, keen to praise the apprentice to his Mistress, and then continued, "May I ask what you're working on?"

"Why certainly, Your Highness, come see," Leila replied, sweeping across to a covered canvas on the opposite side of the studio. "A portrait of a friend, one of the merfolk. It is for my own amusement rather than for any other purpose and he was kind enough to pose for me."

Leila swept the material aside and Nell gasped. Quite the most beautiful man she had ever seen stared coolly back, naked down to where flesh became fish with natural fauna of the sea decorating his torso and arms. The viewpoint was looking down on him as though from an overhanging tree as he lazed in a rock pool, his arms spread out as though he were enjoying a bath in a tub. "Beautiful," Nell murmured, quite overawed by the subject, nevermind the exquisite paintwork that rendered the merman to a state of god-like appearance.

"Still not finished," Leila quipped, but obviously pleased with Nell's reaction.

"Not finished?" Nell asked, wondering what was missing for it seemed to be complete.

"Yes, the pool is empty, the water needs adding," Leila said and on looking again, Nell saw that this was so.

"Yet, all these stones and shells, why paint them in such detail if they are to be covered ..." Nell asked, wondering also just how far up the torso the water would come. She leaned in to look at the shining metallic scales of the tail, thinking they too would be diminished by water being painted in.

"Ah, I'll be using a very particular glaze. It will allow this detailed layer to be seen in all its beauty," Leila said with a twinkle in her eye. "I'll show you how to use glazes soon. I think you will like them, especially as you are heading towards more detailed work. But Your Highness, I'm taking up your time and you came to paint! To work! To work!"

[Nell L'Evienne]

To work indeed and with the canvas of the grey mare fixed onto the easel, Nell cast her eye over what had been done so far. More detail was needed for the nostrils and eyes, and some more work was needed on the mane. After that, she decided she would work on emphasizing the fall of sunlight with highlighting numerous areas with light touches of white. But the painting lacked something and that was warmth. Too much use of grey shadow really, she thought and wondered what the effect would be like if she used a warmer colour in this layer, more sandy, more rose in hue while keeping the same intensity of tone. Overall her perspective of this canvas was one of experimentation, so she started to mix together the hue she had in mind on her palette, lightening it slightly with white. It was a more muddy result than she'd hoped for, rather dull, yet she painted it on, dabbing the paint down the side of the mare's neck then adding some touches onto the ears and under the cheek of the mare's head. She continued to brush some into the forelock and mane, and then stopped before it was overused.

Nell wiped the brush clean and started to darkened the same mix with black to a dark grey. A few strokes of this were added in downward fashion to the mane, long strokes with the brush sweeping lightly off at the end of each to taper out the effect. Again the brush was wiped clean with the rag and a fresh blob of black was brought to a new spot in the centre of the palette. She darkened the mare's eye, then added a smidge of white to the mix for a deep grey that was first worked into the nostrils and then a hint added to the inner ear closest to the fore.

Rather than clean the brush, Nell selected a new one for the final stage of highlighting. Pure white was used, and imagining the sun shining down from the top left corner of the canvas she lightened the long area of the front of the horse's face, added small touches to the ears, a streak on the shoulder furthest away then began to play the white onto the top of the mane, at first in dabs, then drawing the strokes downwards. The white started to mix into the darker grey previously painted, losing its purity the further down she went with the strokes, but this suited her fine. Taking a fan brush, Nell carefully blended some of the edges to soften the new layer.

Finished, Nell sat back. Less love and care had gone into this portrait and perhaps that showed. I can do better than this, Nell thought. And she would. Just not on this particular painting. The urge to continue on the suncats was more appealling. Nell wondered what painters who earned a living by their trade did to motivate themselves when given a commission they found uninspiring. It must be hard, she mused, and what if they had to paint someone who was decidedly plain featured? Did they flatter the subject or go for a true depiction? She shook her head, only glad that she didn't have to face such a choice.

[Heartbreaker]

	+1 exp to Nell L'Evienne - Painting