Good for Texture

This 100% mixable celadon glaze is a light, glossy blue-green that pools darker turquoise and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep translucent gray that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy, soft, blushing pink that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep, glossy cobalt blue that pools and accents textured ware like the ancient glazes they are created to imitate.

This 100% mixable celadon glaze is a cool transparent blue that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a transparent indigo blue that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a dark, glossy blue-gray that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a pale transparent blue-green that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy, ice blue that pools darker blue and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a glossy medium brown that pools darker brown and accents textured ware like the ancient glazes it is meant to imitate.

This 100% mixable celadon glaze is a cool, glossy emerald green that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a translucent aqua-tinted blue like a tranquil inlet.

This 100% mixable celadon glaze is a cool, glossy lavender purple that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable Celadon glaze is a deep, glossy purple that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a light amber brown that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a light red that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep, glossy forest green that pools and accents textured ware like the ancient glaze it is created to imitate.

This 100% mixable celadon glaze is a semi-translucent deep russet brown like a Southwestern mesa.

This 100% mixable celadon glaze is a translucent pale soft green like a tall cactus.

This 100% mixable celadon glaze is a semi-translucent warm light brown like a sandy dune.

This 100% mixable celadon glaze is a lively, glossy sky blue that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a light transparent gray that pools and accents textured ware like the ancient glazes it is created to imitate.

This 100% mixable celadon glaze is a deep, glossy navy that pools and accents textured ware like the ancient glazes it was created to imitate.

This 100% mixable celadon glaze is a translucent spearmint green - fresh and spring-like.

This 100% mixable celadon glaze is a soft, glossy medium green that pools and accents textured ware like the ancient glaze it is created to imitate.

A light opaque blue with a smooth, even surface, which makes it one of the calmer glazes in a line full of loud ones. The interest is in the break: over a raised edge it pulls back to tan, so texture draws itself in a warm line against the cool field.

A cool blue that breaks milky green and then pools pale in the low spots, which is exactly the trick the name is describing: shallow water over sand, deeper water further out.

Amaco calls it one of the best sellers in the line, and the reason is that it never does the same thing twice. Thick, it is a flowing light blue. Thin, it breaks brown. Between those two states it stays busy: streaking, pulling, and following whatever the form gives it.

A translucent pink-red that breaks light tan over texture. It is chasing the copper reds of historic Asian pottery, and Amaco's own framing is worth keeping: it gets there with a reliable color response in an oxidation kiln, which the originals could never promise.

An oxblood red, a color that is hard to get out of an electric kiln at all. Traditionally it takes a gas kiln and a reduction atmosphere. This gets the same result in ordinary oxidation.

A dark glaze carrying shimmering flecks that pull into streams and patches as they move. Amaco compares it to a hare's fur glaze, one of the old Chinese temmoku effects where iron separates during cooling and draws fine streaks down the pot.

A translucent emerald built to show off carving. Because you can see through it, the relief underneath is not covered so much as filled: deep cuts hold more glaze and go darker, shallow ones stay light.

A rich translucent green with darker green speckles suspended in it. The gloss and the translucency together mean the clay body underneath still contributes, so the same jar looks different on white stoneware than on a darker clay.

An intense cobalt blue with a lighter blue floating on the surface of it, which gives the glaze visible depth: one blue sitting on top of another rather than a single flat color.

Brown where it is thin, with blue-gray floats coming up where it is thick. Amaco describes it as a more restrained relative of a straightforward blue glaze, and restrained is the right word: the blue is present but it never takes over.

An opalescent gray that changes noticeably across a textured surface. Opalescent is the right word rather than opaque: there is a milky depth to it that shifts with the light.

A toasty light beige, relatively translucent, breaking clear over texture. On its own it is a quiet, useful neutral that lets the clay body show through.

A dark gold that fires closer to bronze than to yellow, with a satin matte surface rather than a shine. It reads as metal that has been aged rather than polished.

A subtle turquoise gloss that reads green-beige where it is thin and a real aqua where it is thick. The two states are far enough apart that a single pot with relief shows both clearly.

A delicate light green built to reproduce the classical Asian celadons, and it gets close. Celadon is a long-established glaze effect, a pale green transparency that was originally chasing the look of jade.

A flowing green carrying a metallic sheen, and Amaco's reference for it is Persian lusterware, the medieval technique that put a metallic shine onto a glazed surface.

Satin Matte Blue Green is an opaque, buttery deep teal glaze that accentuates textured ware and boasts a classic art deco appearance.

SM-53 Cayenne is a spicy and warm red satin glaze with an earthy undertone.

Satin Matte Chartreuse is an opaque, buttery pea-green glaze that accentuates textured ware and boasts a classic art deco appearance.

Satin Matte Dark Blue is an opaque, buttery cobalt glaze that accentuates textured ware and boasts a classic art deco appearance.

SM-60 Goldenrod is a rich, deep yellow matte glaze like a summer flower.

A pale blue that Amaco describes as a buttery robin's egg. It is the lightest blue in the line and sits closer to a soft chalky color than to a bright one.

SM-3 Marble is a pale gray satin glaze, just a whisper of color like the polished marble it's inspired by.  Glaze fire to Cone 5-6.

An opaque light green. Amaco calls it buttery, and it lands on the yellow side of mint rather than the blue side.

SM-46 Moss is a deep forest green,  matte glaze with a hint of olive in the final color.

An opaque orange with the same soft satin surface as the rest of the line. Amaco describes it as buttery with a classic art deco appearance.

SM-24 Seafoam embodies the serene beauty of the ocean, bringing a sense of calm and sophistication to any pottery creation.

SM-2 Stone is a  dark taupe satin glaze, smooth as a weathered rock.  Glaze fire to Cone 5-6.

Satin Matte Teal is an opaque, buttery blue-green glaze that accentuates textured ware and boasts a classic art deco appearance.

Satin Matte Yellow is an opaque, buttery gold glaze that accentuates textured ware and boasts a classic art deco appearance.

A glossy shino that yields varied shades of blue and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of blue and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of brown and tan depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of cream, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of salmon pink, orange, and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A glossy shino that yields varied shades of mint green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

A matte shino that yields varied shades of mint green and brown depending on how thickly it goes on. That is Amaco's description and it is the important part: thickness is what decides which of those shades you get. Thin favors the warm rust base, thick favors the opaque color.

Dark Star is a fluid, dark matte glaze with iridescent crystals like a beetle shell.

Solar Flare is a highly fluid light brown glaze with an iridescent crystalline surface.

Solar Rainbow is a highly fluid, dark gloss glaze with iridescent rainbow crystals.

Supernova is a highly fluid creamy white translucent glaze with a crystalline surface like frost on a window.

A pastel pink with a delicate, milky quality. It is the softest color in the line, and the crazing does the work that the color does not.

A pastel, frosty blue. Translucent enough that the clay body reads through it, so the same jar on a dark clay and a light clay gives two different pots.

A gentle, translucent blue-green color, similar to a traditional celadon. Easy to apply and reliable. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent pink that won't cover underglaze. Develops a slightly bluish haze where thickest. Great for any application, though colors show best on white clays. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

A translucent purple. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent green, great for any piece with texture or underglaze. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent deep blue. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent greenish gray, which develops a blue haze where it is thickest. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent pale pink. A unique and warm alternative to traditional celadon finishes, Peach Blush is perfect for porcelain. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

Coyote call it their best-selling celadon. A deep translucent green, which pools to a cloudy blue where thickest. Peacock Green is not recommended for food ware, as it can change color when exposed to acids such as lemon or vinegar. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Not recommended for use on food ware.

A translucent vivid red. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent bluish purple, pooling to blue where thickest and sometimes breaking gray where thinnest. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A translucent brown that pools beautifully. Varies from caramel to deep chestnut depending on the thickness. Unlike the other Celadons, Root Beer can be a bit runny. Frank's Colored Celadons are a beautiful series of translucent glazes. They look great on their own or combined with other glazes.

A deep, clear blue. Translucent enough to be used over fine details or underglaze, Sapphire starts as a pale blue and becomes darker as it pools. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A bright, translucent color that adds warmth to any piece without hiding detail. Easy to apply and reliable. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our testing.

A translucent light blue. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A deep gray-green Celadon with deeper green tones and splashes of blue where thickest. Great for any work with texture or underglazes Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes.

A bright, translucent yellow. Frank's Colored Celadons are a beautiful series of translucent glazes. They do not run and look great on their own or combined with other glazes. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A deep blue with a smooth, glossy surface. Coyote call it one of the most popular starting points for glaze combinations. Great for beginners and advanced potters alike.

A solid, opaque black with a smooth, glossy finish. Ideal for nearly any usage, on its own or combined with other glazes.

A rich glossy brown. Great on its own or combined with the Archie's series, Cinnamon Stick develops a slight bluish haze at its thickest.

The perfect cover for underglaze, Coyote Clear Glaze is zinc-free and can be used o ver pinks and reds without damaging them. With proper application and firing, it provides a totally clear glassy surface.

A deep and intense blue that becomes darker as it gets thicker. Great for any use that calls for a darker color.

A stable and reliable glaze that is less bright than White, but has the same glossy finish. Great as a liner glaze for functional ware.

A glossy, translucent blue. T est all foodware to determine food safety.

A light seafoam green. Looks lovely with Shino glazes, or on its own for a bright glossy finish.

A glossy off-white flecked with dark brown specks. Has a smooth, glossy surface when fired.

A warm glossy orange. Great on any pot, and combines with any glaze. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A glossy opaque orange with lovely reddish tones. Won't run, glossy finish. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A deep, intense red with less brightness and a more natural tone compared to our Really Red. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A bright red-orange glossy glaze. Doesn't run and provides a smooth, bold color. Contains cadmium. Passes FDA cadmium release guidelines for food safety in our tests.

A yellow orange glossy glaze that does not run, in Coyote's own words. Solid and bold rather than variegated. Coyote note it contains cadmium and say it passes FDA cadmium release guidelines in their own testing.

A neutral tone that breaks to dark brown over texture, and produces a marvelous furred pattern over Gloss glazes. A great glaze for adding warmth to textured pieces.

A variegated reddish-brown that breaks over texture. Often attains a lacquer-like finish, but can turn glossy pink where thickest.  Beatiful with Black.

Varying from a sagebrush green to a dark reddish brown. Coyote call it one of the most popular glazes in the Shino line, and the natural green and brown tones sit well on most work.

A light brown with some cream tones, breaking darker brown over texture. Has a less glossy finish than most other Shino glazes, usually resulting in a nice satin.

The original cone 6 Shino, sold by Coyote since 2002! A rich brown color that breaks darker over texture, giving an awesome gas-fired look in any kiln.

A warm color with pink and orange tones that breaks to brown where thin. Coyote specifically recommend putting it over black, where the warm tones have something to sit against.

A smooth, not quite glossy white, Alabaster Satin is ideal as a liner glaze for functional ware. Try using it with underglaze like a majolica base.

A bright, true red. Similar to the Really Red glaze, but with a less glossy finish that absorbs the light.

A bright bluish green with a smooth, buttery feel. Great as a slightly calmer, less glossy alternative to Mint.

A bright pink with a haze over it where the glaze goes thick. Coyote say it works on its own and combines well with both their Gloss and Archie's series.

A rich brown that does not break. Where it goes thickest it develops a slight purplish haze, which is the only place this one moves.

A mottled grayish blue. Coyote describe it as the same surface variety as Pam's Green with a less intense color, so it is the quieter of the pair.

A deep mottled green with a rich variegated surface. Coyote list it among their most popular glazes, especially over their Archie's Base.

An intense mottled pink with a paler pink haze where thick. Smoother and glossier than the rest of this shelf.

Coyote call it one of their most popular and most versatile glazes. A very runny, richly varied green that can be unpredictable, sometimes creating both matt and gloss areas on a single pot. Combines beautifully with almost all Coyote Glazes, and explodes with crystals in a slow cool.

A runny but beautiful pale blue glaze. Icy blue crystals appear frequently in this glaze, especially when it is slow cooled.

Possibly our runniest glaze, but also one of our most beautiful. Opal is a brilliant pearlescent blue that varies from translucent where thin to mottled where thick.

A beautifully creamy and translucent glaze, with tones of purple and large blue crystals. Coyote list it among the most popular of their Crystalline slow cools.

A translucent soft green with pale crystals. Crystals grow best on smooth, white clay.

A pale translucent orange with large pink crystals. Rose Crystal is both cheerful and elegant. Perfect for decorative ware, especially over white clay.

A somewhat runny, translucent glaze that pools in textured areas. Copper blue can serve as a nice base glaze, or sometimes an alternative to clear. Fires red in reduction.

A bright electric blue, with a slight translucency when thin, and a deep mottled look over black.

A light brown glaze with a mottled, satin surface. Less breaking than the Shino glazes but with more variation than the Satins.

An iron glaze with a light brown to yellow-orange color. Often Toshi Brown will develop surface mottling similar to wood or salt fired glazes, without those special firing processes.

A super durable glossy white glaze, perfect for porcelain. Gentle enough to let underglaze show through, but hard enough to repel acids and dishwashers.

Perfect for the insides of dishes, Satin White Liner is specially designed to resist crazing, staining, and everything else.

A lovely glossy purple that sometimes breaks to green where thinnest.

A translucent brown with mesmerizing rivulets, Ancient Iron can display a dazzling array of colors. Under the right circumstances, amber, coffee, purple and blue tones can show across a surface, and gold crystals can even form in the areas where the glaze cools slowest.

Coyote have not published a description for this one. On our shelf it is recorded as blue, glossy and opaque, and the tile photo above is a fired sample from our own kiln.

A clean saturated turquoise blue, even and bright across the tile.

A soft blue-violet, quieter than the rest of the line.

A golden tan matte with a sandy, granular look. Breaks lighter and drier over the raised lettering.

A deep navy matte, mottled rather than flat, breaking to a lighter blue across the relief.

A flat black with a dry surface and very little sheen. Even across the tile with almost no break.

A dark warm gray-brown matte. On our tile the relief lifts to a lighter taupe, which is where the leather comparison comes from.

A soft yellow matte with mottling and white variegation through it. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A pale lavender matte, opaque and flat, with very little break over the relief.

A pale wheat cream matte, warmer than Alabaster and a shade deeper.

A dusty salmon pink matte, opaque and even. Muted rather than sweet.

A very dark green matte that breaks to a lighter olive over the raised lettering. Nearly black in the flat field.

A teal green matte with heavy mottling and lighter variegation across the surface. Busier than Wintergreen or Satina Patina beside it.

A dark red-brown with a metallic cast and a mottled, corroded look. Sits at the glossier end of a matte line.

A soft blue-green matte with a patina-like mottle through it. Mayco call it Satin Patina.

A light gray matte with cloudy mottling and white variegation. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A soft dusty blue matte with mottling and white variegation across it. Mayco built three of this line, Weathered Blue, Storm Gray and Lemon Meringue, to change with coat count: one coat shows more color, extra coats increase the mottling and white variegation.

A clean flat white matte. Opaque and even, and a quieter background than Alabaster or Macadamia, which both carry warmth.

A pale sage green matte, quiet and even, with only a slight break over the relief.

A near-black brown matte that breaks to a warm brown on the raised edges. Darker than Black Walnut, and the closest this line gets to black without being Black Matte.

A pale turquoise green that pools deeper in the recesses and pulls almost white on the high points.

A pale ice blue, opaque and even, and one of the calmest tiles on this shelf.

A mid blue ground carrying fine white and darker blue micro-crystals.

A warm amber gold with fine crystal texture through it and a lighter break over the relief.

An olive green ground with fine gold and green micro-crystals, and a warm break on the edges.

A dark red-brown with lighter red and cream breaking through it.

A deep glossy brown with amber breaking on the raised edges. Wet-looking and dark.

A dark teal green with heavy rust and brown mottling over it, like something pulled out of the water.

A mid denim blue that breaks lighter and warmer over the raised lettering.

A mottled brown and gold with streaks of deep red running through it. Genuinely looks like the stone.

A dusty mauve sitting over a warmer ground, with coral breaking through on every raised edge. One of the clearest examples of what this series is named for.

A deep magenta pink, mottled rather than flat, lifting lighter and pinker over the relief.

An olive yellow-green that breaks to a paler green on the high points. Quieter than the name suggests.

A bright mustard yellow, even across the field with a light mottle through it.

The one the series is built around. Gray-green floats over blue with olive and smoky bronze pooling in the recesses, and it reads like two glazes layered when it is only one.

A pale yellow-green that breaks cream over the relief. Soft, and the most restrained of the three Floating colors we carry.

A pale blue-green with gray in it. Cooler and quieter than Floating Blue beside it.

A pale peach with lavender clouding drifting across the surface. The two colors separate rather than blend, which is the effect.

A warm red-brown with purple mottling through it, lifting lighter and more copper on the edges.

A very pale blue-white, close to a satin in how little it reflects. The lightest color in the series on our tile.

A bright red-orange mottled with pink. Busy, and it moves visibly across a flat tile.

A soft cornflower blue with white clouding floating over it.

A burnt orange with lighter apricot breaking through on the relief.

A pale pink-cream with a pearl cast. The softest thing on this shelf and an easy background color.

A bright red with darker crimson mottling through it. Strong, and one of the few in the series that reads as a solid color at a glance.

A lavender purple with a pink cast, mottled across the surface.

A pale gray-green, almost matte in how little it reflects, and one of the quietest colors we carry.

A pale peach-pink with lavender clouding drifting through it. A close relative of Fuzzy Peach on the shelf.

A near-black olive with green and gold breaking on the raised edges.

An amber gold with brown breaking on every edge. Spectrum write it as Tiger Eye without the apostrophe.

A slate blue-gray, even across the field, breaking a shade lighter over the relief.

A bright tomato red, opaque and even.

A clean bubblegum pink, fully opaque. The most saturated pink on this shelf.

A pale cornflower blue with a soft surface. Spectrum spell it Satin Wedgwood, without the middle e.

Rust brown with gold and darker mottling moving through it. One of the more active surfaces in the group.

A dusty plum with pink and gray mottling, softer than the name suggests.

A dark brown that breaks to a warmer red-brown on the raised edges.

A cream with faint speckle through it. The quietest color in the group and a good background.

A near-black blue-gray with streaking through it. The dark counterpart to Cloud Burst.

A golden amber, warm and even. Spectrum list a Texture Honey under two different numbers, so we have left the number off rather than guess which jar this is.

A slate blue-gray, mottled across the surface.

A metallic gold that reads almost identically to Spectrum's Gold on a flat tile. The difference shows on a vertical form, because this one runs and Gold does not.

An olive green with gold breaking on the raised edges and a mottled surface underneath.

A deep wine red that goes nearly black where it pools.

A dark red-brown with copper and black mottling through it, exactly like tarnished metal.

A deep cobalt with green mottling breaking through the blue.

A mid teal blue, even and calm compared to the rest of this line.

A pale pink-white, soft and almost matte. A background color.

A warm cream yellow, even and quiet.

A pale lavender cream with fine sparkle through it.

A saturated mustard gold with a granular, sugary surface.

A very pale ice blue. Barely there, and it needs texture to show anything at all.

A soft blue-lavender with a shimmer through it.

A bright orange-red with a mottled surface underneath.

A very dark aubergine that reads black until the light finds the purple.

A true flat black, even across the tile. Darker and flatter than Midnight Plum or Smoke.

A soft peach orange with cream drifting through it.

A pale sage green, even and soft.

A bright raspberry red with a slight sparkle in the surface.

A dark charcoal gray with a dry, stony break.

An olive sage with blue drifting in from one edge. Two colors out of one jar.

A deep teal that pools darker in the recesses and lifts lighter on the relief.

A deep navy with white and pale blue running down through it like weather.

A soft lavender with a shimmer through it, quieter than Lavender Mist beside it.