Self

Dear Dad, Looking back over my life, I realize how much I learned from you. You are the quietest man I have ever known, certainly the most stoic. You rarely explained what you were doing, often even when I asked questions. Even though we seldom talked much, I learned to follow your movement. You possessed an uncanny ability to look at a problem and knew how to approach fixing it. It was labeled common sense back then; you were known as the neighbor who could fix just about anything. I learned from you something I use every day. I

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Commissions

Last Sunday, I visited one of the windows I created a couple of years ago. My patron is requesting a companion piece. After completion of almost every window I create, I find areas that I wish I had spent more time on, but not this one. Standing there on a short step ladder, I can inspect every line and color as if I were holding the window in my hands; I could not find anything that I would change. I don’t recall this ever happening before in my fifty-three years of exploring my craft. As I grow older and

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Design

This is one of the glass roses we have developed for the foreground of one of our projects. We are far enough along that we have the basic shape and color. We are now working on variations to give our glass garden a natural feeling. Our goal is every stage, from buds to mature flowers, not necessarily in perfect timing with nature but interesting to the viewer. To find the needed colors, we search our inventory, research our suppliers online, and often visit factory and supplier warehouses where we can rummage through crates of glass. Combining our searches for

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Self

In my thirties and forties, I knew I was too focused on my art to devote the time needed to have a family. Over the years, a gradual change took place, and at forty-six, I found myself married to the most wonderful mother one can imagine—kind, enormously patient, and intuitive with children. From this wonderful person, I have learned much about what is important in life and feel so grateful to have been “adopted” by this wonderful family.

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Our Daughter, Emily.

Our daughter Emily.The apple doesn’t fall far from the tree. “I’m over the moon to share that my piece “Study IV, Southside” was recently accquired by the Virginia Museum of Fine Arts @vmfamuseum!! so pumped to have this cyanotype find a home at a museum that I’ve been visiting since I was a kid. extra stoked that it’s a photograph of the James River. it feels surreal! 💙 On my most cloudy days, as a self-taught artist, it can feel like an uphill battle to get recognition or opportunities without an art degree, as if I’m inherently unqualified because

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Design

I was drawn to Rembrandt’s paintings the first time I saw them because of their dramatic use of light and shadow. I found it an interesting alternative when other artists sought a balance of light in their paintings. I wanted to learn from his style and studied how to use it in my art glass. Around twenty years ago, I had this wonderful patron with whom I created seven windows for his home. As a commissioned artist, I engage my patron in a conversation, a collaboration. I want the finished piece to be meaningful to them, at least in

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Creativity

Remember the movie The Dirty Dozen? There are only six of us, but I often chuckle when, at times, I stop and observe what’s happening around me. The creativity involved in creating original art glass windows is intense and demanding. A simple move in one direction calls for an almost instant decision, almost always based on intuition. I’ve long wanted to live my work life rhythmically, and I believe I have now achieved this state of mind, perhaps the highest form of self-actualization. I’m looking forward to the years ahead and to sharing this experience with the wonderful people

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Design

Around forty years ago, a friend who had just bought a new home contacted me about creating a window for him. “I want to sit beside this window with one of your creations in my rocking chair while I read my newspaper.” Well, he got his wish. After all these years, I never know where the next commission will come from. It’s kind of a scary way to live.

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Design

Texture is an integral part of our work. When natural light fades, before artificial light takes over, there is a time when light surrounds and penetrates our flameworking. I think of it as photographers do the “golden hour,” the hour after sunrise and the hour before sunset when soft light and warm tones bring out the best in our work. The texture also invites one to caress the work, seeking to discover a deeper understanding of our art.

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Shop

I prefer to be influential rather than in control of my studio. In my shop, everyone has the power of influence. There are six of us with quite a diversity of life experiences. Taking advantage of this, I step into the background and observe. We all know we continually seek better and easier ways to achieve our goals. Having six minds working on this is better than one. We understand the rules of creativity; negative thinking kills creativity, while a mind free of criticism enriches it. We don’t have a path but a concept to explore. Each individual employing

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Self

Many years ago, Steve Jobs gave an interview describing what it was like to manage Apple. It’s like one is the captain of a large ship; there is a massive hole in the bow, water is beginning to come in, and I’m doing everything I can to make it to shore before we sink. Perfect description. I have felt that way many times. So many details demand attention and take up so much of my day that creating art is almost in the catch-as-catch-can category. My mind is constantly churning. I have pads of paper around me with which

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Self

As a young man, I felt inadequate in life. I never did well in school. I felt like I was in this large holding pen until I was old enough to go out alone. I had a sense of self. I viewed my life quite differently than Dick and Jane saw theirs and became resentful of how I was forced to live in their world. I was thirty-two when I decided I needed a change. I moved to the country, arranged my life so I only had to work three to four months out of the year, and started

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Self

From day one, I knew I would not make much as an artist/craftsman and that there was a good chance I would not be able to make it my occupation. I’ve been told I have a gift. If I do, it’s an overabundance of perseverance. Cutting glass is essential in my art; one’s skill and productivity determine one’s livelihood. Stained glass is an inconsistent material, not only in one sheet but also throughout the sheet, as the various colors, in varying amounts, take their place. Running a small metal wheel around my pattern takes much skill and concentration. If

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Design

Almost always, art glass windows are photographed straight on. As we create them, we try to remember to photograph them in their many stages of development. This practice came about because I believed that one day, I would tell my story with the aid of visuals. This is one of my favorite photographs. When I was close to finishing this window, I captured it in perfect lighting at the end of the day. Images like this engage my imagination more than a portrait approach, leading to more creative work in the future.

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Design

You may recall me saying that I am often halfway through a project before I cut the first piece of glass. Well, this is one of the things I’m doing here, along with designing, getting approvals, making patterns, and finding glass and other materials we’ll need. For this project, I’m selecting the background color for a night sky for a laylight, an indoor skylight, and a lighting fixture representing the moon passing overhead. Sometimes, I think of other artists sitting in front of their work, thinking about how to proceed. Here, I’m thinking of Mark Rothko. It doesn’t take

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Self

One of the most interesting aspects of my life as an artist is my ability to create my reality. I desire to do good, be helpful, contribute when appropriate, and be true to myself. Finding direction and support is challenging in a world with many contradictions, and simple solutions are the norm for very complex problems. And then I have to contend with my inner workings. When I get dressed in the morning, I lay out what I will wear on my bed. Almost every time, I say to myself, I can not possibly be that big around. And

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Design

I spent most of today working toward completing my project, depicting a fall evening scene by the Blue Ridge mountains as if standing on an overlook on the Parkway. I worked into the fading light to understand how the glass represents the changing light: how the moon lightens the color of the leaves, and the sky darkens them. I have always been fond of fall leaves, as they unattached themselves and find their way blowing in the wind. It is such a natural order of the universe, so free and natural. The challenge is the moment is fleeting. We

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Design

I designed this front door transom for a home in Richmond, Virginia, thirty years ago. The homeowners didn’t pursue the idea, so it became a design learning experience. A window like this can become quite expensive. I’m not expensive, but all of the processes involved add up. Even if I explain everything, most people need help understanding the time, skill, and value of such a piece. Even if one desires the piece, where is its place in a list of priorities? I understand. Some accept the concept as a work of art, a symbol of expendable income, or their

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Marketing

It was 1972. After working on the kitchen table for several months, I rented an upstairs studio apartment in Carytown, a retail district in Richmond, Virginia. I was above the Daisy shoe store and across from the Byrd Theater and New York Deli. If you walked down the opposite side of the street, you would see some of my lamps lit and hanging in the upstairs windows. On my side of the street, one could see my sign to help solve the mystery of what was happening upstairs. I thought that if one was an artist/craftsman, one should make

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Craftsmanship

I created this window for the Fork Union Military Academy in Fork Union, Virginia, in 1990. The beveled glass is 3/8 inch thick and beveled on our 1915 beveling machinery. The dark areas are emerald green blown glass. The architecture is wood in a large Victorian farmhouse style. Typically, most leaded beveled glass is 3/16″ or 1/4″ thick. However, you may occasionally find 3/8″ glass in some historical areas. I started using the thicker glass when I went through a period of working on large homes in and around Washington, DC. Many homes were built with unusually thick wood

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Family

I designed this window for Tanden Friends School in 2001. We sent our children to this small Charlottesville, Virginia, school modeled after the transcendentalist. There were only 220 children in the 5th through 12th grade. Small classes and intimate relationships proved vital to our children’s development. They thrived academically and emotionally, earned impressive scholarships, and now live self-directed, meaningful lives. We knew we had found the perfect academic community for our children from the beginning. We were all so grateful that we decided to create something special to show our appreciation while they were students. I started designing the

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Self

Glass cutting is something I take seriously. Each type of glass cuts slightly differently, requiring varying pressures on the little wheel at the end of the cutter. The wheel has particular angles for various thicknesses and hardnesses of glass. Each cut requires dipping the little wheel into a small jar with light oil to give it a longer life. Cutting and grinding glass has the feel of ice to me. Many years ago, before grinders, I would nip away at inside curves with a pair of glass plyers I had rounded off for easy access. It was tedious and

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Shop

We heat our shop with wood. Living out in the country, there is always plenty of firewood from fallen and dying trees, and of course, there are always people who sell cut and split wood ready to burn. I have often found small gasoline engines frustrating to maintain, so this year, I switched to battery-powered chain saws. I’m quite happy with the switch. Battery-powered is quieter, more responsive, and not as messy. I have a friend who has a very serious wood splitter. When he brings it over, he also brings his four home-schooled children. With the guys in

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Bevels

I created this transom for a home in Richmond, Virginia, in 1994. All the bevel glass transoms I’ve seen in the older parts of Richmond are symmetrical. Although this design can be considered symmetrical, I wanted to make it slightly different. I’m always looking for a way to break free of the past in a subtle but tasteful way so that my art blends with the furnishing and atmosphere of the area it will be included in. This bevel glass transom was above an interior door. The exterior was a beautiful sunroom, so not only did it receive plenty

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Self

When I started my journey in 1972, I was 23 years old. One of my biggest challenges was pricing my work. I remember how nervous I would get when giving someone an estimate for a lamp, which is how I started my career. I was always looking for work, even painting a few houses along the way to make ends meet. At that point, I was happy to just survive, with the possibility of being able to keep building my livelihood. Most people had no problem with what I quoted them. However, some were quite agasp. I took this

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Design

When I design a window like this, I first create the main feature. Much effort goes into the detailing, so I avoid leaning over into the middle of the window during its creation. When designing vegetation, I like to make it look like it’s in its later stages of life. This sets the stage for building character into the design, making it more exciting and suggesting motion. I used iridized glass for the background to give the effect of late evening. The vines were solder sculptured over finishing nails for strength, so reinforcing bars are unnecessary. I beveled small

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Inspiration

Every year, this time is an anniversary for me. It marks my first deep appreciation for nature’s beauty. I’m not sure where my thoughts were before, but I discovered the natural beauty around me in my late teens. I believe it developed from my first awareness of freedom of thought. As my first major in college, I learned the biology of trees, from digging a five-foot hole in the forest floor to identifying species by their leaves and everything in between. Although this gave me an understanding of the science and was crucial to my overall appreciation, the forest’s

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Social Media

When I was 13, my mother took my brother, sister, and me to the Virginia State Fair. I enjoyed seeing all the young animals, eating cotton candy and “elephant ears,” and riding on the rides that required me to be a certain height. When I was 17, I drove my first car, an old Rambler, to the fair by myself, where I quickly began to discover areas my mother had managed to shield me from. I was amazed and entertained by the variety of people I encountered. Some people liked each other, and some people seemed frazzled and distant.

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Potatoes

Potatoes grow well in our zip code. Living in the country, we can purchase a pickup truckload of aged manure for $5.00. Add in all the leaves, straw, grass, and leftover plant matter, and after 35 years, our garden is like potting soil. Every year, we plant 3 to 4 rows of potatoes. We dig a hole, stuff a handful of straw in the bottom, place the cut portion of a potato with an “eye” in the hole, and cover it up. Then, the magic begins. Moisture, air, nutrients, and sunlight stimulate the embryo. The mixture is slightly different

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Artist

This is not Norman Rockwell. Most mornings, I peddle my stationary recumbent bike for about thirty minutes. Right above the controls is a place for my iPad, which helps the time pass quickly. I listen to a lot of music, but I also like documentaries about artists. Many artists work alone, some in small groups, and some with their assistants. We’re a closely-knit group with much familiarity and support. In recent years, I have found that I need more diversity, not only from my peers but also from artists of the past. There’s something special about understanding the history

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Flameworking

When I first started cutting 1/4″ strips off of sheets of stained glass and working them over a flame, I became fascinated by how translucent the glass became. This was precisely what I had been looking for for years. I immediately began cutting strips off of sheets of glass around the shop, experimenting with a wide range of colors. Some glass would change color, and some would almost go clear. I soon built a rack in my office to organize my experiments. Sometimes, realizing the potential in a new idea is enough to “light the fire!” My first project

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Teenager

I was not a happy teenager. Tired of having my life micro-managed, I began to withdraw. I wasn’t the type to cause trouble; I never saw it as a productive way to solve problems. I resigned that in a few years, I would be on my own and could live my life as I wanted. As our children began to experience their teen years, I started to look for creative ways that would have made my teen years more pleasant and productive, hoping to pass them along to our children. Taking them to work with me was a significant

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Design

Sometimes, when building a window, I wonder if I should stop short of my original idea. When I build a window like this one using my flame working, I always start with the back glass to attach my pieces to. I think of it as my canvas. This allows me to move pieces around before using the UV adhesive to attach them. After I have attached several sections, I can lift the window to see its development. This photograph was taken when I used the field around my shop to complete the window. It wouldn’t necessarily work in its

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My Journey

When I started my journey into being an artist/craftsman in 1972, I had a landline, library access, and a college degree in Sociology and forestry. My only financial resources were money from painting houses, which was how I paid for college. Oh, and I still had my old VW bus. But most importantly, I had me. I have always been strong-willed, with what is today referred to as grit. As my skills developed, I began to receive commissions from well-off people. This was quite a change from the environment I grew up in. Some saw a way to embellish

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Relationships

When I was in college in Nacogdoches, Texas, I decided I wanted to live half of my life in the city and half in the country, half single and half married. This is the married county half. I like people. Meeting someone new was exciting and usually led to new experiences and insight into the human experience. It gave me an education about humanity that I couldn’t find elsewhere. It also helped me to learn more about myself. Watching people’s expressions and body language can often be more insightful than words. Observing how others organized and lived their lives

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Tools

Have you ever been curious about people who rarely throw anything away and scabage for things that may be useful in the future? They usually have a plan or belief in their destiny. I’m that way with my 1915 beveling equipment. It has five large wheels on cast iron bases and numerous attachments for special angles and effects. While most bevelers have adapted to the new diamond wheels, which are faster but give the glass a machine look, I stay true to the old wheels and grits and polishing compounds for a proper authentic look in my work. This

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Beveling

Most beveling is on 3/16″ or 1/4″ glass with a 1/2″ bevel. I have beveled “miles and miles” this way for my projects and custom beveling for other studios. I promised myself back in college that I would never go through life doing repetitive work, or, as we called it back then, being a “clog in the wheel.” Being true to myself, I began beveling different thicknesses and colors of glass, pushing my skills with different angles. Soon, it seemed natural to work this way, creatively. I arranged them in a carrying case 18″x 24″ and displayed each piece

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Color

One of the things I enjoy so much about my work is color. Some glass artists say that glass is moody. It changes with the light throughout the day, influenced by the colors around it. It can also be both reflective and expressive. This study combines both—a partial window in front of vegetation. The lines blurred intoabstraction, creating a kaleidoscope effect. But more importantly, I find it interesting as I wrestle with the composition and its interplay of color, giving me a new visual experience.

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Reading

When I moved to Bremo Bluff forty-two years ago, I promised to devote considerable time to Reading. I have always liked the idea of carrying on a “conversation” with an author who otherwise I wouldn’t have the opportunity to because of unavailability or the difference in our life span. I started by reading books cover to cover. I soon learned that most books contained several good ideas and evidence to support them but were time-consuming. After acquiring a new book, I began exploring the index and table of contents to find information relevant to my interests. This approach worked

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Light

We created this window for an indoor space in a home in Bremo Bluff around 2022. We took the bottom photograph outside the studio to document it in natural light, while the one above was in reflective light. I’m especially pleased with the moon in the upper window. Its color works so well with the reflective light on the petals. The bottom moon is reminiscent of a ghost moon. Extending the branches with copper wire that we soldered over to resemble natural branches allowed us to extend the blossoms for a three-dimensional effect. I always recommend a dimmer switch

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Glue Chipping

One way I separate commercial products from works of art is to research old glass-working techniques. Glue chipping is one of my favorites. First, we sandblast a piece of glass. Then, we build a “dam” by wrapping masking tape around the edges so that the warm glue won’t run off the edges when we lay it flat. We then heat horsehide glue in a double boiler and pour it over the level glass. As the glue dries, it attaches itself to the rough sandblasted surface. The glue begins to shrink and curl upon further drying, peeling glass chips. Under

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Bevels

An old business partner, Jerry Powers, and I created the lighting fixture for a patron around 1984. Our roles were distinct yet equally important in this project. I beveled the 3/8-inch glass and assembled the fixture, while Jerry brought her artistic touch by designing and carving the glass. The carved design was ‘borrowed’ from an oriental rug beneath it. The object is five-sided. I don’t recall why, but it never seemed quite right—visually, it looked lopsided. But another side of me thinks that’s what makes it interesting. The shape keeps drawing me in by my imitation.

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Us

If we didn’t have a portfolio, I’ve often thought people would think we sold firewood. We live within five miles of each other. The primary commerce is Family Dollar and Dollar General, which duke it out daily. We are more accustomed to fire pits than restaurants, and our dress code would make casual Friday look like prom night. Our commissions mostly come from the other end of the spectrum. We’ve been together for over eight years, and during that time, I have noticed very little change in our personalities. With all of the beautiful commissions we’ve created together, we

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Concept

A sketch for an upcoming project in Bremo Bluff, Virginia. This is how it begins: two people collaborate. One desires an object, and the other wishes to create it. I find it interesting how diverse people work together to create something unique. I think of it as a highly developed right-brain person interacting with a highly developed left-brain person, both looking to fill the void in themselves. If both people are emotionally mature, a sense of wonder takes over; enlightenment fuels the energy curiosity demands. As understanding grows, emotions replace words.

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Drawing

Sitting at the kitchen table on a Sunday evening, sketching an idea for a project, I remember that abstracting an idea into words loses much of its meaning. Watching my sketch evolve, I realized expressing what was happening would be almost impossible. Is it true that a picture is worth a thousand words, maybe two? Why haven’t we been encouraged to express our ideas with the addition of simple sketches? Why aren’t directions expressed in flowcharts? Would this simple addition to our lives enrich our relationships?

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Bevels

Around thirty years ago, I created this beveled glass window for a couple who lived in the Museum district of Richmond, VA. It was one of my new design styles at the time. Being across the street from the Virginia Museum’s parking lot, it received a lot of exposure. The couple called me one day and told me they ordered a pizza last night. When they opened the door, the young man said, “You have a Wayne Cain window.” I’m especially pleased with the glass selection, which provides both privacy and reflective quality in contrast to the wood’s craftsman-style

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Studio

Working in a barn has its advantages. They are mainly economic. I could almost live off my overhead when I lived in the city and had to rent space, plus all the associated costs. I liked the lifestyle of colonial and European artisans. They worked out of their homes or worked in outbuildings. Saving time on my commute had enormous appeal to me. What I appreciate the most is that I can leave the current world outside. As an old friend is fond of saying, “I don’t feel the eyes are on me.” Removing judgment is very important when

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Marketing

Over the years, I have tried marketing my work in many ways, including postcards, emails, cold calls, giving talks at wineries, and just about everything short of standing by the road holding a sign. I have found that my best marketing plan is to invest my time and money into creating the best work I’m capable of. Nothing will spread the word about me and my work better than an elated patron.

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Leaves To Pattern

To get some idea of how many leaves we’ll need for our project, we’ll place the ones we’ve made onto our full-scale pattern. This also gives us some idea of how the window will look in reflected light. Often, we will attach some of the leaves to a piece of the background glass to see how the colors look in daylight. We also use these opportunities todocument and send it to our patron.

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