High School Engineering Capstone Project Ideas
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High school engineering capstone project ideas

High school engineering capstone project ideas capstone logistics bedford ohio could not load active crystal report viewer G'Day Viewers, My Name is Graeme Stevenson and I 'd like to invite you to come on a journey of creativity and learning and adventure through the series Colour In Your Life. There's an artist in every family throughout the world and lots of times there's an artist deep down inside all of us as well, so grab your kids, your brothers, your sisters, your Auntie’s, Uncles' and Mum's and Dad's and come and see how some the best artist in Australia do what they do. (Music Plays) Welcome back viewers, well, um Pete’s been working on these drawings while we’ve been having a bit of a break and as you can see he’s really made some extraordinary progress with it. But, Pete’s you wanted to, part of the reason we’re here today, two reasons, one is obviously because of the drawing you wanted to show us a little about the oil painting s that you’vegot in progress at the moment, um Erskenvile, is that right,. Erskenvilein Sydney, yeah How about we take this guy down, and then ah we’ll put the oil painting up, and watch you paint the oils for a little while. Okay, that will be good. Well, as you can seeviewers, Pete’s actually put this magnificent ah work up here. It’s quit extraordinary. I love the perspective you’ve got in here as well mate. It’s just wonderful. And you’re going to be working on this horse for us. Yes, I, in looking at it, a way, the light doesn’t work on this horse, so I just want to bring the detail up in him. And also the light so it works with the background. It’s a wonderful piece. .So let’s um, let’s let you get stuck into it then. Shall do. Okay mate, well this looks like it’s on linen. Yeah, Belgian. Belgian linen, yeah Pretty expensive isn’t it? Yeah, it is, but I think, I think its worth going to the extra expense on a large painting because you want that sort of drum feel, particularly when you’re painting. Particularly when your painting and Belgian linen seems to retain that. Yeah, I can just see from the angle here the really fineness of the stich that’s in Yeah, it’s beautiful.Yeah well see cause, like early on I love drawing, um by giving this a really couple of coats of gesso and sanding it back Yeah I almost get that paper like sort of feel to the drawing. This is all drawn, all drawn underneath first. Yeah. I mean, Ilove as I said the perspective in this picture. So your about to use some archival oils. Why are you using archival oils on pictures like this? 39 Well I like the consistency of their colouring in mixing. Hmm I just found with some oils, I, if, like the standard forms of mixing colour, putting blue and yellow and getting green, the archival in particular, I just, I have confidence using archival for that reason. Plus, there really lovely to apply. And you don’t get cracking. On paintings I’ve use in the past; you get a cracking in certain areas. I don’t get that with archival oils That’s great. Amazing Yeah, there, there a lovely paint to use. 16Let’s look at what you do then. And it’s obviously just the highlights that were working on but. And, and the, the most important thing obviously in painting or just about anything I suppose is direction of light. Sure. I just, this painting, this painting I had considered finished, but, I didn’t like it because this is the main subject. Hmm But my eye wasn’t drawn to that as much as I wanted it to be. Sure. When,I mean, the light is coming from obviously this direction by these shadows and this falling here, there will be reflected light as we talked about earlier in the drawing and I didn’t think that had, well I definitely don’t. There’s no thinking. I don’t have that showing sufficiently enough. Within the horse, which is the main subject matter. The guys face is going to be obscured a bit. Hmm Um, but it’s really getting the light into the horse here. Hmm And getting his forma lot stronger. Alright, we’ll let you get into it No sweat. I like to get a good, a goog tip on the end, on the end of my brush and I’ll, I’ll over exaggerate this to start with. Okay, that’s come up straight away. So what type of brush have you got there? So it’s a Roymacokay. Yeah, yeah I use the Roymac myself. They sort of tend to really hold a good consistent tip to them. Yep And they don’t, when, when you actually put them on, they spring back. Yeah they do They don’t stay, which is great. And I don’t use big brushes. Very rarely I’ll use any brush in any of my work because I’m just more comfortable using it like a pencil. Okay, I can remember, I was um I was working with a New York dealer many years ago, and I sort of got fairly meticulous with the work sometimes , and he just said to me Graeme, you know what, sometimes less is more. Yeah 04 So don’t, don’t overwork it. I mean just leave the stroke there. Hmm So that the stroke tells the story instead of having to drive it into the canvas. Yeah, yeah. And you see some of the, the um the great masters in the past and your drawn to a, either just a brush stroke that lit up a notion or lit up a tree or lit up a mountain or lit up Monet, Monet’s a perfect example Beautiful example. Beautiful example. Yeah So have you been into the street at all? Yeah, my daughter actually lived down the end, the end here. Okay Um, when um, when she was in fashion, when she attended fashion school, she a friend of hers from school Okay Lived down there. So this is, um his is Gary, Gary Street here. This particular corner there is four beautiful buildings on each corner. I’ve actually done a number of paintings based on this um, based on this street. I did one, another one from sort of back up here looking towards me. With the horseman coming around the corner. The ideaof this came from, a mate of mine moved from the bush to Sydney, and just seemed a bit lost on the move and I came up with this idea. And you can take the boy out of the bush but you can’t take the bush out of the boy. He moved to Sydney and even though he left the property, one thing that did go with him were the Kelpie dogs. He use to take them down every afternoon and muster, muster the birds and the pigeons in the park with his dogs. So he could never really get rid of it. Ah that’s where the idea of this, ah, painting came from. Yeah. Well viewers, um, were going to let Pete finish up this picture at the moment. It’s been an absolute privilege to be with him today. He’s an extraordinary talented artist, brilliant horseman, great, great guy as well. I think he’s a wonderful man. Ah, the crew’s really enjoyed watching Peter do what he’s done today. And obviously being able to come into your wonderful gallery’sthe Wind Horse Gallery and the Blue Bicycle Gallery. But I’d really like to thank you Bud, for having us along. It’s been a great pleasure If you would like to see more of the great artists like Peter, and his work, and some of the other artists we’ve got; you can go to colour in your life dot com dot au and see all of the stuff we’ve got in there and If you’re an artist your most welcome to come and put your own work up as well. But, until we see you next time, remember; make sure you put some colour in your life (Music Plays) capstone cottages rent order Helene Fuld College of Nursing, Harlem.

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