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Busy re-arranging carriages while the Santa Specials were running on 4th December is Class 10 Diesel Shunting locomotive No. 10119. Photograph taken with a Pentax ME Super using an SMC Pentax-M 40-80mm f2.8 lens and Fuji Superia X-tra 400ASA film.
Each student picked colored prints of Portraits by Rembrandt.
I had the real pleasure of teaching this large 10th grade class of 26. With this grade, they are brought out of their polarized thinking, working with Black & White Drawing and Contrast in 9th grade. What a better way to do so than with a limited Dutch palette from the Golden Age and painting Rembrandt's portraits!
We started out with practicing in charcoal, then did a preliminary sketch in pastel of a portrait by Rembrandt of their choice. On 16x20 paper, they painted with the following layers fo colors: yellow ochre, raw sienna, raw umber, black and alizarin crimson. In the end, I spent some time on teaching the class about how to bring out the details of eyes and how to bring the viewer's gaze up to the eye the way Rembrandt may have done with "vision-based techniques" (lost and found edges, center of focus techniques), guiding the viewer's eye through a picture or painting.
Class 10 no.D3489 "Colonel Tomline" parks up in Tunbridge Wells West yard for the night.
© Aron Stenning
Stage 2: painting with yellow ochre and raw sienna
I had the real pleasure of teaching this large 10th grade class of 26. With this grade, they are brought out of their polarized thinking, working with Black & White Drawing and Contrast in 9th grade. What a better way to do so than with a limited Dutch palette from the Golden Age and painting Rembrandt's portraits!
We started out with practicing in charcoal, then did a preliminary sketch in pastel of a portrait by Rembrandt of their choice. On 16x20 paper, they painted with the following layers fo colors: yellow ochre, raw sienna, raw umber, black and alizarin crimson. In the end, I spent some time on teaching the class about how to bring out the details of eyes and how to bring the viewer's gaze up to the eye the way Rembrandt may have done with "vision-based techniques" (lost and found edges, center of focus techniques), guiding the viewer's eye through a picture or painting.