DISPLAY BASE FOR CHAOS ARMY

Tomislav Petrović, 20th July 2021

Since my brother went to Krems this year (editor's note: 2005) for the second time for the Austrian Championship, and the display base is one of the conditions for the community there to participate in the tournament, here's how I put in the effort and made one.

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To clarify one thing, display bases (hereinafter DB) that are made in such a way that a certain surface is flocked, painted, maybe some extra features, and the figures are placed on it is for me a halfassed solution - in short, a lot of work for something that looks average. I consider a DB to be da bomb when each unit or individual figure has its own slot in which it is placed so that the surface of the base of the figure is flush with the surface of the DB.

Dissatisfied with the fact that the DB created in this way is useful while the list for which it was made is current, I decided to make a display base that will be applicable to each list (at least its main part), and only the surface will change - when you go deeper into the text , you will understand what I meant.

1. Found a suitable board (2 cm thick)

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2. Since my rectangular shape is too ordinary, I decided to complicate things a bit and make a non-real octagon (by that I mean 4 sides of the same length). I made a draft and transferred it to the board:

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3. I got rid of the excess with a jigsaw, so now the DB has a shape in which the angles are under 150 degrees, 4 sides 30 cm long, and the other four 14 cm + a couple of millimeters, which will later be removed by planing and grinding.

Tip: Never cut the board to the desired dimension but leave 2-4 mm due to the above procedures later:

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4. I also cut a 4 mm thick plywood board to the same shape (the figure bases are 4 mm thick):

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5. I made 4 holes in the board and plywood with a drill, which will later be fitted with screws that will fix the plywood to the main board:

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6. Then I widened the holes on the plywood so that the nut would fit in them. I used screws fi = 5 mm and the nut for them is 4 mm thick so it won’t protrude beyond the plywood. After that, the joint between the nut and the plywood is well sanded with super glue, making sure that the glue does not go on the thread because it could later interfere with the screw:

Tip: Since the nut in the board must be fixed, it is desirable to drill a 1 mm smaller hole, and then drive it into the board with a hammer and brutal force.

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7. After the nut is fixed, for the first time the plywood and the main plate are connected with screws in order to determine how long the screw needs to be and to remove the excess:

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It looks like this:

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8. After the screw was shortened to the appropriate length, I covered the nuts on the top of the plywood board with masking tape so that I could texture that surface later.

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9. After that I joined the boards and due to the inaccuracy in cutting the boards and drilling the holes the edges looked like this:

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10. In order to achieve that the edges match, the excess needs to be planed, and then finely sanded. After this procedure the condition is as follows:

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11. After processing the edges with a vibrating grinder, I sanded all the surfaces on the plywood and the main board:

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12. The next and most demanding step is to place the decorative moldings on the edges of the board. I took 3x3 cm high / wide corner skirting boards for parquet length of 2 m. The skirting board is coated with wood fix, joined to the board, and then I additionally fastened it with nails:

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13. After installing the moldings the whole thing looks like this:

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14. As the angle on the legs of the molding is not right, but it is cut obliquely, it happened that I have a "groove" on the lower side between the molding itself and the plate. This proved to be a happy coincidence because knowing your brother (a man is able to tear a steel ball) any extra fixation comes in handy. I filled the grooves with hot glue using a gun (I guess you know which tool I'm talking about):

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15. As I approached the plane of the board and molding any excess glue that might protrude over that plane I straightened with a spatula while the glue was hot and liquid. After gluing, the underside of the board looks like this:

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16. Since I don't have the right tools (saw stand)), I had to determine the angles of 150 degrees between the moldings by eye only, and especially because I'm not a carpenter, the next thing happened:

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17. I sanded the joints to get rid of the protruding parts, and I cracked the cracks between the moldings using carpentry putty and left it to dry overnight. The next day I sanded the putty with fine sandpaper to make a perfect transition between the two strips and the putty and so that after painting everything together I would not see the difference between the putty and the wooden part.:

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18. Now it's time to paint. I protected the moldings with protective tape:

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19. Then I painted the board between the moldings with black matt spray and left it to dry:

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20. After that, it was time to paint the moldings. I protected the previously painted black surface with a protective tape:

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21. I used brown wood paint with integrated varnish which, in addition to protecting, also gives a gloss effect. I took a darker shade (rosewood) because the darker color covers the putty better.

Tip: Apply the first coat only on putty parts and wait for the paint to dry well. After that, in the second painting, paint the complete moldings. Two or three coats of well-smeared coat should be enough for a nice coverage - of course, between each coat you should wait for the previous one to dry well:

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22. A few more small details and the main board is ready. I bought wood wallpaper for the underside of the DB - black wallpaper with rings - it definitely looks the most convincing and least cheap:

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23. After installing the wallpaper, the underside of the DB looks like this:

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24. The final job on the DB main panel is varnishing the screws and black so that the metal head of the screw does not look ugly on the black wallpaper:

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25. Now it's the plywood board's turn. I placed the unite on it and marked the parts to be removed according to them:

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26. After that, I drilled holes in the corners for cutting with a jigsaw:

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27. After cutting the excess and sanding the plywood looks like this:

Tip: When cutting, it is good to make sure and make a 1 mm bigger hole for the bases, because if you cut too small a hole later, it is a real pain to grind the part that bothers you so that the base fits nicely into the hole.

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28. The next step is to text the plywood. I will not talk too much about this because the procedure is the same as when texturing the most ordinary terrain:

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29. Since the Austrians also demand some extra feature on the DB, we decided to make a monolith dedicated to the nurgle god. I cut it out of a piece of wood, processed it by planing and grinding, and then made indentations with a flexor. The flexor may be an unorthodox tool for making models (especially if they are made of wood), but it is very effective. The dead-line that hung dangerously on my back at that stage of making DB makes all sorts of ideas fall through in order to speed up the work:

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30. Later we decorated the monolith with, for a nurgle, the characteristic three circles arranged in a triangle using large screw plates, added waterlogging heads from chaos tank sprue, added a tray made of half a plug of Ax dezic, a hot glue gun made slime leaking waterlogged from the mouth into the tray and then overflowing over the edge and dripping down the monolith to the base. Relatively simple special feature, and yet in the spirit of the military. I fixed the monolith with wood fix and plywood nails and when everything was in place I undercoated with black matt spray:

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That in short (well, not very short) would be that.

The point is that one day, when the list is changed, this plywood is replaced with another plywood, which will be cut according to a template that matches the new list, with maybe some new feature instead of a monolith to refresh the impression a bit, and the base itself to be further usable.

I hope that the text is clear enough and that there are enough pictures and that those who will one day want to make their DB, but are not sure where to start and how to finish the job will benefit from this text.

P.S.

Still, a few words of warning because not everything is as simple as the text suggests.

FIRST

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The circular saw is a dangerous tool, and I definitely have no luck with it. A year ago, he almost tore off my left index finger. This time, fortunately, she was excluded, but even then she showed her insidious nature (a sharp knife that looks benign while static).

SECOND :

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I don’t know about you, but the mess I leave behind in creative ecstasy is, to put it mildly, terrifying. I think I’ll avoid the basement for a while because I get depressed every time I see how much cleaning awaits me.

Ok, I’m finally done writing.

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    I wanted the diorama to read from left to right, as the three dioramas would be displayed one next to the other, so as well as reading the specific Life diorama from left to right, I also wanted the entire display of all three dioramas to lead from left to right. I decided that from left to right the dioramas would also go from light to dark, Life being the lightest in tone and colour and Afterlife the darkest, reflecting the dioramas’ subjects. I decided on the scale for the entire display, around 50mm for humans, as this would be small enough to fit all the elements I needed, but large enough to fill up the dioramas with the amount of elements I found as STL’s and save me some time on not having to paint too many tiny details. I adjusted all STL’s to this scale, and found some realistic wheat plants online at the correct scale as well. And so the concept sketch for the Life diorama came together.

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    I knew that the Death diorama would be a burial ritual underground. I found a STL pack of several of the objects found in Tutankhamun’s grave, a burial ritual STL pack with two workers carrying a mummy and an ancient Egyptian priest. This would give me the scene. As the dioramas were going to have to be made as cubes, closed on all sides with walls, except for the front, as opposed to the open dioramas on display bases that we are used to, a part of planning each scene was also figuring out how to make the two sides and back panel a natural part of the dioramas. In Life this was an impossible task as no outdoor area is a cube, but I decided on making each side a rocky cliff and hoping the illusion of the scene would make the unaturally geometrical shape of the landscape become less visible. For Death my solution was a roller with Egyptian hieroglyphs. With this I could fill out each wall with historically accurate symbols and this way create interest in the surroundings of the scene as well. And for Afterlife, as this is already a “supernatural” scene, the walls would be bricks, extending the typical art found in Egyptian tombs portraying the Egyptian afterlife of Duat, into a 3D space. Generally I found a lot of inspiration and direction for this entire project from ancient Egyptian art and wall paintings.

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    The Afterlife diorama would have to have an Osiris character, the Egyptian God of the Dead, overseeing Dismut’s journey to Duat. As all STLs I could find of him had warrior poses, I instead commissioned a seated Osiris figure, as well as the scale that would measure Dismut’s heart against a feather, and thus if she is worthy of the Afterlife. I found a STL of Thoth, taking notes, and thought it suitable for the God judging the dead - in this case Dismut.

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    The final result is displayed here and will also be on display at Oslo’s Historical Museum for the foreseeable future. If you visit the city, make sure to stop by and have a look at the final display.

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    Nedavno me kontaktirao Povijesni muzej u Oslu da izradim tri minijaturne diorame za njihovu izložbu MUMIJA - prikaz drevnih egipatskih artefakata i mumija. Njihovi zahtjevi bili su da svaka od tri diorame prikazuje dio života jedne od mumija s izložbe, Dismut, kćeri čuvara hrama. Njezin život, smrt i zagrobni život. Osim toga, dali su maksimalnu veličinu prikaza. To mi je ostavilo puno slobode za interpretaciju i izradu diorama na moj vlastiti način i stil. U ovom članku provest ću vas kroz dio svog procesa razvoja triju koncepata. Za detaljniji pregled koraka potrebnih za dovršetak diorama pogledajte videozapise.

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    Moj prvi fokus bio je na potrebnim minijaturama. Pretražio sam online trgovine s 3D datotekama kako bih vidio što je već dostupno. Znao sam da će to biti jedno od mojih ograničenja jer nije bilo vremena ni proračuna za 3D dizajn svih predmeta i likova potrebnih za sve tri diorame. Pronašao sam skupinu drevnih egipatskih poljskih radnika, pa je diorama Život nastala imajući tu skupinu na umu - mirna scena uz rijeku Nil, s radnicima koji žanju pšenicu dok Dismut promatra s više točke. Ova diorama bila je i prilika za uključivanje nekih životinja predstavljenih na izložbi, pa sam pronašao mačku i miša u STL-u (a kasnije i krokodila). Budući da Dismut nije poznati faraon, očito nije bilo dostupnih STL-ova za nju, pa sam naručio dvije 3D skulpture, što mi je dalo priliku da je imam u točnim položajima koji su mi bili potrebni za Život i Zagrobni život. U Smrti bi se pojavila samo kao mumificirana figura, lako dostupna online.

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    Želio sam da se diorama čita slijeva nadesno, budući da bi se tri diorame prikazale jedna pored druge, pa sam, osim što se specifična diorama Života čita slijeva nadesno, također želio da cijeli prikaz sve tri diorame ide slijeva nadesno. Odlučio sam da će diorame slijeva nadesno ići od svijetlog prema tamnom, pri čemu će Život biti najsvjetliji po tonu i boji, a Zagrobni život najtamniji, odražavajući subjekte diorama. Odlučio sam se za mjerilo za cijeli prikaz, oko 50 mm za ljude, jer bi to bilo dovoljno malo da stanu svi potrebni elementi, ali dovoljno veliko da ispuni diorame količinom elemenata koje sam pronašao kao STL-ove i uštedi mi vrijeme jer ne bih morao slikati previše sitnih detalja. Prilagodio sam sve STL-ove ovom mjerilu i pronašao sam neke realistične biljke pšenice na internetu u ispravnom mjerilu. I tako je nastala konceptualna skica za dioramu Života.

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    Znao sam da će diorama Smrt biti pogrebni ritual pod zemljom. Pronašao sam STL paket nekoliko predmeta pronađenih u Tutankamonovoj grobnici, STL paket pogrebnog rituala s dva radnika koji nose mumiju i drevnim egipatskim svećenikom. To bi mi dalo scenu. Budući da su diorame morale biti izrađene kao kocke, zatvorene sa svih strana zidovima, osim sprijeda, za razliku od otvorenih diorama na izložbenim postoljima na koje smo navikli, dio planiranja svake scene bio je i smišljanje kako učiniti dvije strane i stražnju ploču prirodnim dijelom diorama. U filmu Život to je bio nemoguć zadatak jer nijedno vanjsko područje nije kocka, ali odlučio sam svaku stranu napraviti kao stjenovitu liticu i nadao se da će iluzija scene učiniti neprirodno geometrijski oblik krajolika manje vidljivim. Za Smrt moje rješenje bio je valjak s egipatskim hijeroglifima. S tim sam mogao ispuniti svaki zid povijesno točnim simbolima i na taj način stvoriti interes i za okolinu scene. A za Zagrobni život, budući da je ovo već „natprirodna“ scena, zidovi bi bili od cigli, proširujući tipičnu umjetnost pronađenu u egipatskim grobnicama koje prikazuju egipatski zagrobni život Duata u 3D prostor. Općenito sam pronašao mnogo inspiracije i smjernica za cijeli ovaj projekt u drevnoj egipatskoj umjetnosti i zidnim slikama.

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    Diorama zagrobnog života morala bi imati lik Ozirisa, egipatskog boga mrtvih, koji nadgleda Dismutovo putovanje u Duat. Budući da su svi STL-ovi koje sam mogao pronaći o njemu imali ratničke poze, umjesto toga sam naručio sjedeću figuru Ozirisa, kao i vagu koja bi mjerila Dismutovo srce u odnosu na pero, te time utvrdila je li dostojna zagrobnog života. Pronašao sam STL Thotha, bilježio i smatrao sam da je prikladan za Boga koji sudi mrtvima - u ovom slučaju Dismuta.

    Nakon što je muzej odobrio koncepte, započeo je višemjesečni proces nabave MDF zidova za kocke, rezanja, rezbarenja i lijepljenja XPS pjene pod ispravnim kutovima, veličinama i oblicima, oslikavanja oko 40 minijaturnih likova i predmeta airbrushom i kistom, stvaranja i oslikavanja pejzaža, izlijevanja epoksidne smole za rijeku Nil, kao i mnogih drugih manjih i većih zadataka. Od mnogih ideja koje su se pojavile tijekom izrade diorama (koje nisu odražene u skicama koncepta), jedna za koju mislim da je posebno doprinijela ukupnom izgledu konačnog prikaza bila je činjenica da sam odlučio da će svaka diorama imati svoju glavnu boju. Žuta za život, sunce i pustinju, crvena za smrt, podzemlje i zemljanost, a plava za zagrobni život, hladnu i melankoličnu. To bi razlikovalo diorame jednu od druge čak i kada se gledaju iz daljine, kao i dalo prirodan prijelaz od toplog prema hladnom, još jedan način dodavanja kontrasta i da se diorame čitaju u mom željenom smjeru, slijeva nadesno. To je najočitije postignuto odabirom uljanih boja korištenih za sjenčanje triju diorama. Osim toga, akrilne boje odabrane su iste za sve tri diorame, što daje koheziju boja, a ujedno se temelji na dostupnim pigmentima koje su imali u to vrijeme u drevnom Egiptu - mineralni pigmenti poput lapis lazulija, crvene i oker boje, čađa za crnu, spojevi bakra za plavu i zelenu te sintetički pigmenti poput egipatske plave.

    Konačni rezultat je ovdje izložen i bit će izložen u Povijesnom muzeju u Oslu u doglednoj budućnosti. Ako posjetite grad, svakako navratite i pogledajte konačni postav.

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    Sebastian Søgård, 17th June 2026
  • Miniature Painting Workshop - 75mm Dwarf
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        ["title_eng"]=>
        string(40) "Miniature Painting Workshop - 75mm Dwarf"
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        string(44) "Radionica bojanja minijatura - 75mm patuljak"
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    On 09-10.05.2026. we held a new weekend miniature painting workshop. This time it was the turn of a dwarf in 75mm scale.

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    The workshop was held over two days (a whole weekend) and the participants painted a 75mm miniature dwarf. The focus of these lectures was painting various textures - metal, human skin, textiles and leather. Water-based acrylic paints were used in the workshop. For this purpose, the workshop leader, Ivan Knezović, chose a 75mm miniature dwarf from Durgin Paint Forge, sculpted by Carlos Perez Bugedo. The lectures were adapted so that the leader devotes equal time to all participants and can be adapted to all categories of miniaturists (from beginners to slightly more advanced).

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    The workshop took place as follows:
    First, the lecturer sits at his desk and explains and demonstrates each step in painting a miniature/model on his specimen. His work is displayed on a screen via a camera and projector, which the participants listen to, watch, and ask questions about.
    Then, the participants sit at their desks and apply the knowledge they have gained. The facilitator circulates among the participants and checks how each participant is doing. This way, he or she can adapt to each participant individually.

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    The workshop will include the following thematic units:
    1. NMM (Non metallic metal)
    2. Reflections of ambient colors on metal
    3. Steel / gold
    4. Face painting (male)
    5. Adding vibrancy to the face (filters)
    6. Extracting textures from fabric, metal and leather

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    POWERED BY: Carta MagicaFireball FigurinesDurgin Paint ForgePlaysupport

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    09-10.05.2026. smo održali novu vikend Radionicu bojanja minijatura. Ovoga puta na redu je bio patuljak u 75mm mjerilu.

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    Radionica se provodila kroz dva dana (cijeli vikend) i polaznici su bojali 75mm minijaturu patuljka. Fokus ovih predavanja bilo je bojenje raznih tekstura – od metala, ljudske kože, tekstila i kože (leather). U sklopu radionice korištene su akrilne boje na bazi vode. U tu svrhu, voditelj radionice, Ivan Knezović, izabrao je 75 mm minijaturu patuljka tvrtke Durgin Paint Forge, koju je sculptao Carlos Perez Bugedo. Predavanja su prilagođena tako da voditelj posveti jednako vrijeme svim polaznicima i može se prilagoditi svim kategorijama minijaturista (od početnika do malo naprednijih).

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    Radionica se odvijala na sljedeći način:
    Prvo, predavač sjedi za svojim stolom te objašnjava i demonstrira pojedini korak u bojanju minijature/makete na svojem primjerku. Njegov rad se preko kamere i projektora prikazuje na platnu što polaznici slušaju, gledaju, ali i postavljaju pitanja.
    Potom, polaznici sjedaju za svoje stolove i primjenjuju stečeno znanje. Voditelj kruži između polaznika i provjerava kako svakom polazniku ide. Na taj način, može se prilagoditi svakom polazniku ponaosob.

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    Radionica će uključivati sljedeće tematske cjeline:
    1. NMM (Non metallic metal)
    2. Refleksije boja iz okoline na metalu
    3. Čelik / zlato
    4. Bojanje lica (muškog)
    5. Dodavanje živosti na lice (filteri)
    6. Izvlačenje tekstura tkanine, metala i kože (leather)

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    POWERED BY: Carta MagicaFireball FigurinesDurgin Paint ForgePlaysupport

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    Ivan Knezović, 26th May 2026

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