A pale flower on blue cloth may mark the place where colour was kept out. This guide teaches 100 useful English Blaudruck resist-printing vocabulary words through Austria’s textile traditions. Learn to read a printing sequence, describe repeated patterns and distinguish a protected design from colour printed directly onto the surface.
The Austrian Commission for UNESCO documents indigo hand printing in Burgenland and the Mühlviertel. The international heritage entry is shared with Czechia, Germany, Hungary and Slovakia. Austria is this guide’s focus, not an exclusive claim over the practice. The central distinction is resist: a printed paste protects selected parts of cloth during later dyeing.
Most entries are English textile, design and explanation words. Blaudruck, Papp and Model are labelled German craft terms. “Top 100” is a curated learning selection, not a frequency ranking. All sample records and classroom comparisons are invented. This is an English guide rather than a dye recipe, a chemical-handling lesson or a claim about an undocumented textile.
Understand the protected pattern
Follow the making logic, look closely at the design or practise explaining a sample. Each route connects to the full word groups.
First check: what was printed, and what was dyed?
Imagine a preparation image showing pale paste on plain cloth and a later image showing a pale design on blue. Ask what the printed substance did. A learner who says “the block prints blue flowers” may understand repetition but has reversed the colour relationship. Begin with protect, resist, field and sequence.
Draw three boxes on paper: before dyeing, during colouring and after the documented finishing stage. Put the supplied observations into the boxes. Do not add an invented recipe. The exercise tests whether a learner can explain the order and purpose of events with the evidence available.
Then describe a finished sample without its making photograph. Which claims remain visible, and which now depend on the label? A pattern can be described in detail even when its exact process is unknown. A strong account makes the difference between a visible pale motif and a sourced resist-printing identification clear.
Contents: ten groups of ten words
Words 1–50
1–10: Name the craft and its key distinction
11–20: Identify the textile before its decoration
21–30: Follow the recorded sequence
31–40: Read the tools without turning the glossary into a recipe
Words 51–100
51–60: Notice colour and surface
61–70: Compare samples with stated criteria
71–80: Explain boundaries and unexpected effects
Worked example · Learning method · Practice · Questions · Sources
Start by distinguishing the name of the tradition, the printed substance and the colourant. They belong to one process but perform different jobs.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 1 | Blaudruck | German craft name for blue printing, associated here with resist printing and indigo dyeing. | Blaudruck textile | The label identifies the Blaudruck textile and names its workshop. |
| 2 | resist printing | Applying a substance that restricts later colouring in selected areas; distinguish it from directly printing coloured motifs. | resist-printing sequence | The resist-printing sequence explains why the flowers remain pale. |
| 3 | indigo | A blue dye; a blue appearance alone does not establish that this colourant was used. | indigo dye | The workshop account identifies indigo dye for the documented cloth. |
| 4 | resist paste | A preparation applied to protect selected areas during dyeing; formulations belong to particular practices. | printed resist paste | The preparation photograph shows printed resist paste before colouring. |
| 5 | Papp | German workshop term for the resist preparation in this craft context; not a universal ingredient formula. | Papp application | The source describes Papp application without publishing a classroom recipe. |
| 6 | Model | German craft term for a patterned printing block; plural Modeln in the cited context. | wooden Model | The wooden Model carries the design used in the demonstration. |
| 7 | block printing | Transferring a design with a patterned block; the transferred substance must be specified. | hand block printing | Hand block printing applies the resist in this account. |
| 8 | direct printing | Applying colour directly in a pattern; a useful contrast with printing a protective resist. | direct-printing method | The learner distinguishes the direct-printing method from the supplied resist process. |
| 9 | reserve | An area preserved from colouring or other treatment; a specialist descriptive sense. | pale reserve | The pale reserve forms a repeated flower against the blue field. |
| 10 | dyeing | Colouring material with a dye through a suitable process; distinct from constructing the cloth. | indigo dyeing | The record places indigo dyeing after the printed preparation. |
Explain why a printed design need not consist of printed colour. Use the making record to establish the specific process rather than infer it from blue cloth alone.
The underlying cloth has fibres, yarns and a structure. Those features remain relevant after a design is added.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 11 | textile | Material made from fibres or yarns through construction methods such as weaving. | decorated textile | The decorated textile is described through structure and pattern. |
| 12 | fabric | Cloth considered as a material or surface; identify construction and fibre separately when known. | prepared fabric | The prepared fabric lies flat in the process image. |
| 13 | fibre | A slender natural or manufactured strand used in textile production. | identified fibre | The identified fibre comes from the material note. |
| 14 | cotton | A plant fibre used in textiles; not a synonym for every pale woven cloth. | cotton fabric | The maker’s card identifies cotton fabric in this sample. |
| 15 | linen | Textile fibre obtained from flax; its identity should follow a reliable material record. | linen cloth | The source identifies linen cloth rather than relying on appearance. |
| 16 | yarn | A continuous strand used to construct a textile; distinguish it from the finished fabric. | woven yarn | The enlarged image reveals the path of the woven yarn. |
| 17 | weave | The interlacing arrangement of yarns in woven cloth; a structural description. | plain weave | The sample note identifies plain weave beneath the printed design. |
| 18 | warp | The lengthwise set of yarns in a woven construction; establish orientation before describing direction. | warp direction | The diagram marks the warp direction with an arrow. |
| 19 | weft | Yarns interlaced across the warp in woven fabric; a structural term. | weft yarn | The weft yarn crosses the marked lengthwise direction. |
| 20 | selvedge | A finished woven edge helping resist unravelling; British spelling, also selvage. | woven selvedge | The woven selvedge gives the sample a clear orientation. |
A fibre name does not specify a weave, and a weave does not identify a dye. Keep the three descriptions separate when reading a sample card.
Process verbs should explain what happens to which material. Their order matters more than an impressive list of technical nouns.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 21 | prepare | To make something ready for a later stage; specify the documented action rather than assume it. | prepare the cloth | The record explains how the maker prepared the cloth. |
| 22 | apply | To put a substance onto a surface; name both the material and destination. | apply the resist | The description says the block applies the resist. |
| 23 | align | To position elements according to a reference line or arrangement. | align the block | The diagram shows a reference used to align the block. |
| 24 | press | To exert force against a surface; the verb does not itself specify pressure or duration. | press the block | The demonstration shows the maker press the block against the cloth. |
| 25 | transfer | To move a design or substance from one surface to another; a making sense here. | transfer the pattern | The raised surface helps transfer the pattern in the recorded method. |
| 26 | dry | To lose moisture or become free of surface wetness; distinguish it from every chemical change. | drying stage | The sample record names a drying stage between documented operations. |
| 27 | immerse | To place material into a liquid; exact conditions depend on the process. | immerse the cloth | The diagram locates the cloth when it is immersed. |
| 28 | protect | To prevent or limit an unwanted contact or effect; identify what is protected from what. | protect the motif | The resist serves to protect the motif areas from dye. |
| 29 | remove | To take a material away; state what is removed and rely on the recorded method. | remove the paste | The final note describes removal of the paste. |
| 30 | reveal | To make a previously obscured feature visible; a result word rather than a mechanism. | reveal the design | The finishing record shows the revealed pale design. |
Write one sentence using before and another using after. Neither should invent quantities, exposure times or ingredients absent from the supplied record.
WORD GROUP 4 OF 10
31–40. Read the tools without turning the glossary into a recipe
Tool vocabulary helps explain a demonstration. It does not specify one compulsory workshop arrangement or authorise unsupervised practical work.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 31 | printing block | A tool carrying a relief design for transferring a pattern; its material and construction can vary. | patterned printing block | The patterned printing block is credited in the workshop photograph. |
| 32 | relief | A design raised above or cut in relation to a surrounding surface; specify the actual arrangement. | block relief | The block relief helps explain which parts contact the cloth. |
| 33 | handle | A part designed for holding or controlling a tool; identify its role from the demonstration. | block handle | The block handle appears above the patterned face. |
| 34 | printing table | A work surface used for laying out material during printing; equipment differs across workshops. | printing-table surface | The printing-table surface supports the fabric in the photograph. |
| 35 | roller | A rotating cylindrical component used in some printing equipment; not identical to a hand block. | printing roller | The source identifies a printing roller in that workshop. |
| 36 | frame | A structure supporting or holding material; specify its function in the actual record. | supporting frame | The supporting frame appears in the documented dyeing arrangement. |
| 37 | vat | A large container used for liquid processing, including some dyeing systems. | indigo vat | The note names the indigo vat without prescribing its contents. |
| 38 | sample | A selected piece used for demonstration, testing or comparison; state its purpose. | reference sample | The reference sample shows the intended repeat. |
| 39 | swatch | A small textile piece retained to show material, pattern or colour. | labelled swatch | The labelled swatch is linked to a complete record. |
| 40 | sample book | A collection of examples organised for reference; its entries need individual identification. | historic sample book | The historic sample book contains patterns with separate catalogue notes. |
The Austrian sources describe differing workshop histories and equipment. Attribute a roller or hand-block method to the relevant account rather than generalise it to every maker.
A useful pattern account identifies the repeated unit, the direction of recurrence and the spaces between units.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 41 | motif | A recognisable design unit that can recur or vary; not automatically a fixed symbol. | floral motif | The floral motif repeats along the narrow border. |
| 42 | repeat | A recurring design unit or arrangement; distinguish it from the act of reprinting. | pattern repeat | The pattern repeat includes one flower and its surrounding space. |
| 43 | registration | The alignment of successive impressions or design stages relative to one another. | print registration | The comparison examines print registration at the join. |
| 44 | alignment | The relative positioning of design elements along a reference. | motif alignment | Motif alignment changes near the edge of the sample. |
| 45 | spacing | The distance between elements, rather than their individual size. | regular spacing | Regular spacing makes the rows easy to follow. |
| 46 | border | An edge area distinguished by its pattern or arrangement. | printed border | The printed border uses smaller motifs than the field. |
| 47 | field | The main background or design area around the motifs. | blue field | The blue field surrounds the pale repeated forms. |
| 48 | symmetry | Correspondence around an axis or centre; identify whether it is exact or approximate. | reflection symmetry | The sketch shows reflection symmetry across the central line. |
| 49 | rotation | Turning around a point; in design it can organise repeated units. | rotated motif | The rotated motif points towards the opposite corner. |
| 50 | scale | The size of an element relative to other elements or the whole. | motif scale | Motif scale differs between the border and centre. |
Ask someone to sketch the arrangement from your description. Their sketch can reveal whether repeat, spacing and alignment were actually clear.
Photographs show appearance under particular viewing conditions. They do not always establish the colourant, fibre or surface treatment.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 51 | hue | A colour family such as blue; distinguish it from lightness or intensity. | blue hue | The sample has a blue hue in this reproduction. |
| 52 | value | The lightness or darkness of a colour in art discussion. | value contrast | Value contrast separates the pale flowers from the field. |
| 53 | saturation | The intensity of a colour’s appearance; reproduction settings can affect it. | apparent saturation | The learner qualifies the apparent saturation in the screen image. |
| 54 | contrast | A visible difference between compared elements or areas. | strong contrast | Strong contrast makes the small pattern legible. |
| 55 | gradation | A progressive change in appearance, such as lightness across an area. | colour gradation | The image shows colour gradation near the lower edge. |
| 56 | tone | A lightness or darkness quality in this visual context; other contexts use it differently. | pale tone | A pale tone marks the reserved flower shapes. |
| 57 | texture | Surface character perceived visually or by touch; a photo directly supports visual description. | visible texture | Visible texture remains beneath the flat pattern. |
| 58 | opacity | The degree to which a material prevents an underlying surface from showing. | paste opacity | The process note discusses paste opacity in its own example. |
| 59 | coverage | The extent to which an applied substance occupies a surface. | even coverage | The preparation image suggests even coverage on the printed areas. |
| 60 | surface | The outer face of a material, distinct from its whole thickness. | fabric surface | The fabric surface carries the transferred resist. |
A pale motif is an observation; its protection by resist is a process explanation. Connect them when the record supports the connection.
A comparison becomes informative when its feature and purpose are stated. Variation can be deliberate or incidental.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 61 | comparison | Examining similarities and differences using stated features. | swatch comparison | The swatch comparison focuses on spacing rather than preference. |
| 62 | criterion | A basis for judgement; plural criteria. | quality criterion | The quality criterion concerns whether the intended repeat remains legible. |
| 63 | variable | A condition or feature that can change and may affect an outcome. | recorded variable | The recorded variable is block position in this teaching example. |
| 64 | control | A comparison condition used to help interpret another condition; not automatically a perfect match. | comparison control | The proposed comparison control would keep the cloth type unchanged. |
| 65 | consistency | The extent to which selected features remain similar. | repeat consistency | Repeat consistency is assessed across the central row. |
| 66 | variation | Difference within or between examples; it can be intentional. | handmade variation | The maker describes handmade variation as part of this design. |
| 67 | irregularity | A departure from evenness or a repeated arrangement. | small irregularity | A small irregularity appears beside the third flower. |
| 68 | sample record | Documentation linking a specimen with its materials, process and purpose. | complete sample record | The complete sample record changes the learner’s explanation. |
| 69 | batch | A group processed or produced together under stated conditions. | documented batch | The documented batch contains five individually labelled samples. |
| 70 | repeatability | The ability to obtain similar results under repeated stated conditions. | process repeatability | The record discusses process repeatability without claiming identical handmade objects. |
Do not call every shifted motif a fault. Ask what the maker intended and what the sample was designed to demonstrate.
Boundary words help describe a result before assigning its cause. Several processes can produce related appearances.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 71 | edge | A boundary of material or a design shape; specify which. | motif edge | The motif edge is softer near the lower corner. |
| 72 | bleed | Spreading beyond an intended boundary; call it unwanted only when the purpose is known. | colour bleed | The sample note identifies colour bleed in that test. |
| 73 | smudge | A blurred or smeared mark; its cause requires process information. | paste smudge | The preparation photograph records a paste smudge beside the repeat. |
| 74 | offset | A displacement from a reference position; a comparison term. | slight offset | A slight offset separates the two neighbouring impressions. |
| 75 | overlap | Partial covering or crossing of elements; it may be visual or physical. | overlapping impressions | Overlapping impressions create an unexpected dense area. |
| 76 | gap | An opening or unfilled interval between elements. | unprinted gap | An unprinted gap interrupts the intended row. |
| 77 | blur | A loss of sharp boundary definition; not one unique diagnosis. | edge blur | The edge blur is described before its cause is proposed. |
| 78 | distortion | A change in shape relative to a reference; not necessarily damage. | pattern distortion | The stretched photograph may contribute to apparent pattern distortion. |
| 79 | defect | A feature failing a stated requirement; the requirement must be known. | documented defect | The maker identifies the mark as a documented defect. |
| 80 | adaptation | A change for a new purpose or setting, distinguished from accidental variation. | design adaptation | The wider border is a documented design adaptation. |
A soft edge does not diagnose a paste formulation by itself. Identify the visible feature, check the record and qualify the proposed cause.
Blaudruck has local workshop histories within a multinational heritage entry. Recognise both levels without confusing them.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 81 | Burgenland | An Austrian federal state associated with a documented indigo-printing tradition. | Burgenland example | The Burgenland example is attributed to its regional source. |
| 82 | Mühlviertel | An Upper Austrian region with a documented hand-printing tradition; a place name. | Mühlviertel account | The Mühlviertel account describes a particular workshop history. |
| 83 | artisan | A skilled craft maker; the term alone does not authenticate origin. | named artisan | The named artisan receives credit for the sample design. |
| 84 | workshop | A place or session of making and teaching; specify the intended sense. | family workshop | The source discusses knowledge passed through a family workshop. |
| 85 | apprentice | A learner developing skills under an experienced practitioner; arrangements vary. | craft apprentice | The craft apprentice learns through guided observation and practice. |
| 86 | transmission | Passing knowledge and skill between people through teaching and participation. | skill transmission | The article connects skill transmission with continued making. |
| 87 | heritage | Practices and objects valued and passed on by communities; it includes living change. | shared heritage | The multinational entry recognises shared heritage across five countries. |
| 88 | safeguarding | Measures supporting the continuation of a living cultural practice. | heritage safeguarding | Heritage safeguarding concerns practitioners as well as objects. |
| 89 | attribution | Assigning information, authorship or origin to an identified source. | workshop attribution | The workshop attribution follows the sample’s actual record. |
| 90 | provenance | Documented ownership or custody history; different from a visual style label. | documented provenance | The design alone cannot supply documented provenance. |
A regional example can be distinctive without being the sole owner of all resist printing. Credit the named source and practitioner.
The final terms help organise evidence, revision and audience. Select only the words that make the account clearer.
| No. | Word or term | Meaning and usage | Natural collocation | Original example |
|---|---|---|---|---|
| 91 | observation | A description grounded in what is directly noticed under stated conditions. | pattern observation | The pattern observation names the gap and its location. |
| 92 | inference | A conclusion drawn from evidence rather than directly observed. | qualified inference | The explanation presents pressure as a qualified inference. |
| 93 | mechanism | The process through which an effect occurs; it needs a causal explanation. | resist mechanism | The paragraph explains the resist mechanism in ordinary language. |
| 94 | sequence | The order of events or actions; follow the supplied record. | documented sequence | The documented sequence places printing before dyeing. |
| 95 | evidence | Information supporting a claim; match the evidence to the claim. | process evidence | The preparation image supplies process evidence. |
| 96 | limitation | A boundary on what a record or method can establish. | photographic limitation | The photographic limitation prevents identifying the paste recipe. |
| 97 | qualification | Words narrowing a claim to its supported scope. | necessary qualification | The phrase for this sample adds a necessary qualification. |
| 98 | collocation | A familiar word combination supporting natural expression. | textile collocation | The learner uses the textile collocation pattern repeat. |
| 99 | revision | A change improving an account’s accuracy or clarity. | evidence-based revision | The evidence-based revision changes the assumed cause. |
| 100 | explanation | An account showing how or why a relationship occurs. | clear explanation | The clear explanation connects protection with the pale pattern. |
Write a paragraph that explains the protected pattern in ordinary English. Specialist terms should sharpen the explanation rather than replace it.
Worked example: blue flowers or protected flowers?
An invented teaching record contains three images. The first shows a patterned block and plain cloth. The second shows pale paste on the cloth. The third shows pale flowers on a blue field after the recorded finishing process. A learner writes: “The block paints blue flowers, and washing makes the background blue.” The statement has reversed the roles of the design and background.
Repair the sequence using only the supplied record. The block transfers resist in the flower pattern. The cloth is subsequently dyed. The protected areas form the pale motif after the documented removal of the preparation. This account names the function of each stage without adding a formula, a timing rule or an unrecorded chemical procedure.
Now compare two fictional swatches. A has evenly spaced flowers. B has a small gap between its second and third impressions. The maker’s note says that B tests a deliberately wider interval for a border. A learner who calls the gap careless has ignored the intended design. Revise the evaluation while preserving the correct observation of a wider interval.
Next remove the making images and leave only the finished textile photograph. The viewer can still describe pale flowers, a blue field and the wider interval. Identifying a specific resist paste or workshop technique now depends on the source note. This change in evidence should alter the wording of process claims, not erase the visual description.
A model paragraph reads: “Pale floral motifs repeat across the blue field. The supplied workshop record identifies a resist-printing process in which the patterned preparation precedes dyeing. The wider interval in the border is documented as a design test. Its appearance therefore supports a description of spacing, while the maker’s record supplies the purpose and process identification.”
Austria’s regional accounts within a multinational practice
The Austrian Commission for UNESCO offers separate accounts for Burgenland and the Mühlviertel. Read them as records of particular workshop histories. Their equipment and patterns help a learner ask more specific questions than whether a textile simply looks traditional.
The international inscription joins Austria with Czechia, Germany, Hungary and Slovakia. That shared listing is compatible with regional differences and individual makers’ choices. Neither a national heading nor a common process means all workshops use identical materials, tools or designs.
Keep a short source card: institution, regional focus, named practitioner if supplied, and the exact claim you used. A historical workshop description does not automatically establish present opening hours or access. This guide makes no claim about available visits, purchases or current workshop bookings.
Learn through a sequence, a comparison and a revision
Use the eduKate Fencing Method to organise five connected words around the protected pattern: resist, apply, protect, dye and reveal. Explain their relationships before adding another group. A learner who can define each word but reverses the sequence needs a process task rather than a longer list.
Retrieve actively. Cover the table and explain the three teaching images to another person. Ask the listener to repeat the order back. Where the account becomes ambiguous, repair the verb and its object: what was applied, which area was protected and what the finished image shows.
Interleave process reading with design description. First map the repeat, then read the maker’s note, then explain which sentence the note supports. This teaches selection of evidence as well as word meaning. It also prevents the process story from replacing attention to the actual textile.
Space practice across short sessions. Begin with one diagram, return later to retrieve the words, then describe an unfamiliar sample. Keep an error log with meaning, sequence, collocation and unsupported cause as possible categories. Each category suggests a different next exercise.
The S-curve is a helpful analogy for progress stages, not a forecast of results. Early recognition can improve before independent explanation becomes fluent. When matching definitions feels easy, increase the demand by asking for a fresh comparison and a justified revision.
Metcalfe’s Law can similarly illustrate the usefulness of connected knowledge, without providing a numerical vocabulary formula. Repeat links to spacing, registration, border and criterion. Finish with a short paragraph using only the terms needed to make one clear point, then test it on a new textile.
Practice: retrieve, explain and revise
A. Repair: “The block prints the blue flowers.” The supplied record identifies pale reserved flowers on a dyed field.
B. A gap is wider in the sample than in the earlier pattern. Does that prove a mistake?
C. Which is observation, and which needs a source: the motif is pale; the resist contains a particular ingredient?
D. Write two sentences about an invented sample with pale leaves, a dark field and smaller border motifs.
Answers and explanations
A. Model: “The block applies resist in the flower pattern; later dyeing colours the surrounding field.” The revised sentence follows the documented function rather than the everyday assumption that printing always applies colour.
B. No. Describe the difference, then read the purpose and making record. In the worked example the wider interval is an intentional design test.
C. The pale appearance can be observed in the image. The ingredient identification needs a reliable materials account; appearance does not establish a recipe.
D. Model: “Pale leaves repeat across the dark field, while smaller motifs form a narrow border. The change of scale separates the edge from the main pattern.” This description makes no unsupported claim about fibre or maker.
Frequently asked questions
Is Blaudruck simply printing blue colour?
In the process discussed here, the printed preparation resists later indigo dyeing. Explain that sequence instead of translating the name into an assumed direct-colour printing method.
Is the tradition exclusive to Austria?
No. The cited international entry is multinational. This article focuses on Austrian regional sources while keeping that shared context visible.
Are all 100 entries German?
Most entries are English. Selected German craft terms and Austrian place names are labelled so learners can read the source accounts accurately.
Does blue cloth prove indigo was used?
No. The visible hue and the colourant’s identity are different claims. Follow the documented material information.
Can a glossary provide a paste recipe?
This guide explains language and process relationships. Workshop preparations and practical handling require method-specific instruction from a practitioner.
What should a beginner learn first?
Start with resist, protect, motif, field and sequence. Use them to explain a documented example, then retrieve them with a different sample.
Sources and scope
Sources checked on 17 October 2026. Institutional and practitioner sources establish the cultural context and selected specialist distinctions. The learning sequence, fictional records, example sentences and exercises are original educational material. This vocabulary guide does not establish an object’s provenance, certify practical skill or replace instruction from a qualified practitioner.
Austrian Commission for UNESCO: Burgenland indigo printing — Regional craft context and the role of printed resist.
Austrian Commission for UNESCO: Mühlviertel indigo printing — A separate regional workshop account.
UNESCO: Blaudruck and related European traditions — The multinational inscription and its process overview.
Explain what the pale pattern records
Continue through the eduKate vocabulary hub. Compare printed resist with the shaped-resist focus of the Japan shibori guide. Transfer the evidence habits while keeping the mechanisms distinct.
The Singapore-based Secondary English Tuition in Singapore guide connects vocabulary, diagnosis and explanation. Your next task is a short account of a new sample, using a source only for the claims it supports.