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1/200 @ f/22, 70 mm, ISO 125
Bare 580EX from camera right; same from camera left, giving rim and jaw light....and it looks like the sun crept in when I was not looking.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Apprezzo la cioccolata perchè
lei è l'unica che sostituisce la mancanza di ciò che è impossibile da sostituire.
....rifiutare la piattezza, non nel senso di inventarsi emozioni artificiali e stupide, ma di sapersi stupire di fronte al miracolo di ogni giorno.
Frederic Beigbeder (L'amore dura tre anni)
checking that the tube is bent at the right angle
Visit at the Reynolds factory by Witcomb Cycles - 24 January 2008
Formed from the Afon ( river ) Llugwy,, just off the A5 road a couple of miles west of Betws-y-coed
Taken with a Minolta SR-! SLR camera using a 55mm f2 Auto Rokkor lens on Kodachrome slide film
KPM Berlin um 1885 Tasse Form Antiqueglatt mit Bunter Blumenmalerei, Ränder in Purpur, Zylindrisch, www.kabelitz-porzellan.de
Day 3 of our 3-day trip to the Carolina coastal plain. This turned out to be a "Blue" day, considering all of the Gentian flowers we saw.
To read more about the trip, please go to Jim's Blog.
Formes Limites : Pratiques de la céramique et sculptures contemporaines
« Formes Limites » est une exposition dédiée à la céramique, qui rassemble des œuvres d’art, des travaux de céramistes, des objets de design ou des éléments issus de l’industrie. Elle met en évidence le potentiel sculptural de ces matériaux. Chacune des œuvres présentées témoigne d’une approche spécifi que de la céramique, et de sa mise en forme. Enseignée aux Beaux-Arts de Paris, elle s’inscrit dans notre époque par ses qualités tant techniques qu' esthétiques. L’exposition, qui se tient dans la Chapelle des Petits-Augustins, au centre d’un décor unique de copies sculptées et peintes hérité du XIXe siècle, témoigne d'un regain d’intérêt pour une technique qui valorise les savoir-faire et la fabrication manuelle.
Source : www.beauxartsparis.fr/images/telechargements/pdf/presse/f...
Löwenstein - Stein in der Form eines Löwen in der Sense ( Fluss - River ) bei Neuenegg im Kanton Bern in der Schweiz
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Sense
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Die Sense ( Bergbach Bach creek ) befindet sich im Kanton Bern und Kanton F.reib.urg der Schweiz
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Daten Sense - Singine
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- Name : Sense ( französisch Singine )
- Gewässerkennzahl : CH: 269
- Region : Kanton Bern und Kanton F.reiburg in der Schweiz
- Ursprung / Q.uelle : Zusammenfluss von K.alter Sense und W.arme Sense in Z.ollhaus
- Länge : 35,7 km
- E.nde - M.ündung : Bei L.aupen in die S.aane → A.are → R.hein → N.ordsee
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Die Sense ( frz. Singine ) ist ein rechter Nebenfluss der S.aane und G.renzfluss zwischen dem Kanton Bern und dem Kanton F.reiburg in der Schweiz. Ihre Q.uellflüsse, die in Z.ollh.aus zusammenfliessen, sind die K.alte Sense, die im Gebiet des G.antrisch entspringt
und die W.arme Sense, die aus dem S.chwarzsee kommt.
Die Sense fliesst durch eine 15 km lange S.chlucht, die nicht nur bei W.ildwasserfahrern, sondern auch als B.adefluss sehr beliebt ist. Der wichtigste Z.ufluss der Sense ist das S.chwarzwasser.
Nach ca. 35 km mündet die Sense bei L.aupen in die S.aane. Da bei heftigen G.ewittern, besonders im S.ommer, die Sense plötzlich sehr stark ansteigen kann, ist der Aufenthalt in der Nähe des Flusses bei unsicherer W.etterlage gefährlich.
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F.ische
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Die B.achforelle ist die Fischart, welche am häufigsten in der Sense anzutreffen ist. Daneben kommen noch A.let, B.arbe, G.roppe, G.ründling, H.asel, R.egenbogenforelle und – vor allem im U.nterlauf – die Ä.sche vor.
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( BeschriebSense AlbumBergbächeimKantonBern KantonBern Bach creek puro ruisseaucrompán torrente 小川 kreek zatoczka enseada bäck zátoka arroyo Wasser vand water vesi eau uisce Vatn acqua 水 vann woda água vatten Voda agua Natur nature luonto Cineál Náttúra natura 自然 natuur natureza Príroda Narava naturaleza Alps Alpit Alpes Alpi アルプス山脈 Alpene Alpy Alperna Alpen Alperne Schweiz Suisse Switzerland Suissa Svizzera Swiss Sveitsi Sviss スイス Zwitserland Sveits Szwajcaria Suíça Suiza AlbumSense )
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An der S.ense bei F.lamatt mit M.ese, N.adia, K.aren, A.l, D.enise, L.uc, R.ita und L.iliana am Sonntag den 28. Juli 2013
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Hurni130728 KantonBern
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 220222
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NIF
Rapid Industrialized concrete housing construction using handset aluminum concrete forms. For more information visit www.wallties.com/securetech.htm
Un paseo por el barrio donde nació, pintó y desarrolló sus primeros conocimientos
De exterior en exterior
Entre Soria y Bilbao, se unieron dos apellidos y dos formas de entendimiento. La visión del abuelo Jorge García Vellosillo, que por medio de un carromato llegó a la segunda ciudad, permite observar la evolución de la sociedad y paso de los años en muy poco tiempo. Quizás del siglo XX al XXI no nos separa sólo la fotografía en Blanco y Negro, sino una serie de cambios en el uso de los medios de comunicación que hacen que nos fijemos en la red como si hubiese estado siempre para quedarse. García Ergüin, en el último paseo realizado, nos enseñó la casa donde nació, la Escuela Cervantes o uno de los lugares más emblemáticos de Bilbao: el Café Iruña. Además, en un día lluvioso, la Calle Iparraguirre y Mazarredo son dos lugares de paso obligado, porque son numerosos los recuerdos de una zona en la que el pintor se ha sentido como en casa, a pesar de los diferentes viajes realizados. En esa cronología, que estamos realizando gracias a las diapositivas de las diferentes exposiciones, análisis de imágenes en papel o el estudio de la obra, cuadro por cuadro, el origen marca una serie de acontecimientos que son de interés y que marcan el compás del tiempo.
Los estudios en los que Iñaki García Ergüin se ha sentido como en casa cambiaron con la evolución del propio pintor, que pintó sus primeros esbozos y bocetos en la calle, con tan sólo 14 años de edad, hasta que miró por su arte trasladando sus utensilios y herramientas de trabajo a la Calle María Muñoz. En poco tiempo, la Calle Gran Vía de Bilbao fue el segundo lugar seleccionado para seguir investigando en el arte de la pintura, con calma y espacio, donde el creador empezó a dar forma a sus cuadros denominados “primitivos”, que sintetizan algunos exteriores de Cuenca, Castilla, Guajasierra, Castro Urdiales, Bermeo o Portugalete, con los bodegones de época, de dificultad añadida por el juego de luces y uso del color.
En la Calle Mazarredo, los placeres y los días, se esfumaban con los viajes por Europa y las exposiciones realizadas en Madrid, ya que los premios llegaron a finales de la década de los cincuenta y los críticos vieron en la figura de Ergüin una promesa capaz de buscar temáticas diferentes para lograr consolidar un estilo propio, original y con marca auténtica que dejará al resto de autores y coetáneos su propio refugio. París, Bad Aibling (Alemania) o las propias localidades cercanas a Bilbao dieron una visión de exterior a un joven artista que recibía las clases de la mano de José de Lorenzo Solís en la escuela, al lado de otros compañeros de profesión.
La infancia, marcada por el transcurso de la Guerra Civil Española (1936-1939) y la evolución de la contienda, sobre todo las noticias de la II Guerra Mundial, crean una generación de niños que crecen con el sonido de las bombas, la falta de alimentos de primera necesidad y los “juegos de guerra” en la calle, entre bandas rivales que provenían de los distintos barrios. Para García Ergüin la pintura, como tal, los primeros juguetes y la posibilidad de participar junto a otros niños, se “basaba en la propia definición de las cosas, la creación de juegos y juguetes, así como por medio del uso de la imaginación. Las tizas, como recuerdo en el tiempo presente, son la extensión de la mente y de la mano con la que realizamos los primeros esbozos en la carretera”.
El monte Urkiola, Bermeo o Archanda quedan en un pasado que sigue vigente en la cabeza del autor con más de 5.000 obras a lo largo de una trayectoria profesional significativa, donde con “poco se hacía mucho”. En el viaje realizado a finales del mes de noviembre, el Café Iruña, uno de los sitios más emblemáticos de la ciudad y al lado de los Jardines de Albia, es una de las paradas obligadas de una ruta personalizada por Ergüin, que descubre el barrio que le vio crecer a él y sus dos hermanos. De misma estatura, con sensibilidad y compartiendo las preocupaciones de la época, en el interior del café se relatan numerosas aventuras del pasado, de los primeros éxitos en las exposiciones de Madrid y Bilbao, así como de aquellos sermones de los padres cuando había poco que llevarse a la boca.
Al lado de un plato de jamón, la selección de una serie de productos de excelente calidad y un café con leche –en el caso de Ergüin solo-, las imágenes de exteriores nos permiten ver la decoración preciosista de un lugar que ha contado con los mejores productos de cada región. La Alameda de Mazarredo hasta llegar a la Calle Iparraguirre hace que busquemos cobijo con las primeras gotas de lluvia, hasta llegar al portal y seguir con las fotografías de una casa que fue el lugar de nacimiento del pintor.
El paso por la Escuela Cervantes, después de aquella simulación de paseo por en medio de la calzada realizada por el padre del artista (León) en los cincuenta, hacen que giremos sobre nuestros pasos para ver y observar aquella terraza de la Calle de Mazarredo, dejando atrás los sonidos de aquellos pájaros que nos llegan del interior del colegio de al lado. Por otra parte, contrastando las épocas, la etapa de Madrid ha permitido el desarrollo profesional de García Ergüin que disfrutó de su propio estudio en la Calle Velázquez, Nº54, aunque esas fotografías se realizarán en los próximos viajes y paradas del recorrido sobre la vida del pintor. Con la idea de finalizar un episodio, y la lluvia encima, la vuelta al análisis de la obra cumplió dos facetas. Una, que es notoria, es la consolidación de un fondo artístico que saldrá a la luz en 2013, y la otra, que es importante, es la definición de una persona capaz de adaptar su idea a cualquier tipo de formato para materializarla en obra. Así de sencillo.
Fuente de información:
-Archivos de Iñaki García Ergüin.
-Medios de comunicación.
Para más información
Ignacio García Ergüin
Web: www.garciaerguin.es
Facebook: facebook.com/garciaerguin
Twitter: twitter.com/garciaerguin
Flickr: flickr.com/photos/garciaerguin
YouTube: youtube.com/inakigarciaerguin
Pendant from polymer clay, alcohol ink and metallic powders, finished with epoxy resin (according to the Rocky Path-tutorial from Rivervalley)
The former 53ft turntable from Deniliquin stored at Seymour. When at Deniliquin it had steam locomotive K176 displayed on it.
26th February 2023.
For Thanksgiving dinner, my wife made homemade crescent rolls. Here they are ready to go into the oven.
For FlickrBingo3, week29: FORM
Many of the exchangable tools for an excavator have a similarity of form with the human hand in the appropriate position for a similar function, upscaled.
FORM in this sense is FORM in Swedish, as well.
A form for filling in, as for customs or taxes, is FORMULÄR in Swedish.
On my card:
NECK well GOOD open body
make FORM BAND AREA seal
rate skip FREE WOOD word
LIKE rack RACE FALL HAIR
zone heel bolt wick shoe
I had just been through this heavy storm. Looking back at it towards Route 35 between Chillicothe and Washington Court House Ohio. A small tornado formed from this. I wanted to shoot more photos here, but the lightning was getting too close.
Best viewed Large:
The original buildings of Havant Sixth Form College (formerly Havant College and Havant Grammar School) have occupied the site since about 1960. This view has changed little in 40 years and is etched in my memory from my Grammar School years. With B Block in the background, A Block is on the right and the former music department to the left. Immediately inside the entrance to A Block is the Principal's Office exactly as was the Headmaster's Office, occupied by, first, Charles Rivers-Moore and, later, Dr John Jackson.
Photographs of Havant Sixth Form College were taken with the permission of staff and I am grateful to Lauren Chappell and Rob Clayton for facilitating my visit.
200_P1040150
This image was scanned from a photograph held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, please contact us.
Former Civil Defence bunker i Skanderborg, Denmark. Built i a unfinished german WW2 bunker. Preserved in unique unaltered 'cold war' state and i now a museum.
Den tidlige beredskabskab bunker i Skanderborg. Bygget i ikke færdigbygget tysk bunker fra 2. verdenskrig. Bevaret i unik og uforandret stand som da den kolde krig sluttede.