better known crafts is the painting of images onto amate (bark) paper, done in Nahua communities such as Ameyaltepec, Maxela, Xalitla and San Agustin de las Flores. One reason for its prominence is that it is very popular with tourists. It is popular with artisans as well, as the paintings yield a higher income than pottery. Although more colorful, the paintings are based on the sepia designs of certain traditional pottery, which in turn have roots in pre Hispanic codices. However, since it is a new craft, it is still evolving Initially the motifs were of animals and plants but then human figures began to appear, placed in scenes and landscapes. The amate paper is not made in the state of Guerrero, but rather it is from the state of Puebla, in particular from San Pablito in the Sierra Norte region. The paintings have become a characteristic of the state's handcraft tradition. Painters have been commissioned to create murals both in Mexico and abroad. and a number have taken the work to canvas, but still mostly sold in tourist markets. Lacquerware Another important product is lacquerware, part of a larger Mesoamerican craft tradition. Most is produced in Olinalá, but there are also production in nearly Acapetlahuaya and Temalscacingo. Lacquer work dates back to the pre Hispanic period, when it was used to preserve and decorate wood objects, gourds and more. It survives mostly intact, with changes only in decorative motifs through the colonial period to modern times. Until recently, most wood items were made from a fragrant species called linaloe, but over exploitation has made it scarce and expensive. While historically both chia seed oil and a waxy substance from an insect larva were both used, today only chia seed oil is used, mixed with mineral or vegetable pigments. Most Guerrero lacquerware is distinguished by the use of a “scratch” (rayado) technique for decoration, although pieces with inlay or painted motifs are also made. The rayado technique has its origins from Asian pieces brought by the Manila Galleon, but the current incarnation became popular in the 20th century. The technique consists of two or more layers of lacquer of different colors. When the new layer is added on top of the old, it is scraped with a tool such as a quill before it is dried to expose the color underneath in areas. The designs appear to be in relief.