I met Anne van Grevenstein, Director of the Limburg Institute (SRAL) in the The Amsterdam-Maastricht Summer University (AMSU) course Historic Painting Techniques in Oil: The Confrontation between Rembrandt and Rubens (18 August—24 August, 2007). Anne was a benevolent watchful presence, guiding participants with a gentle wise hand. I am grateful to her for her careful organization of such a complicated enterprise. Her physiognomy intrigued me; it reminded me of types pictured by sixteenth--century Low Country and German artists. My initial intention was to do a silverpoint drawing, using cross-hatching and other drawing techniques of the period, but I found myself preferring pencil. The pencils used were Faber—Castell 9000 3B,  Faber—Castell TK 9071 5B, and Stabilo Schwan 8046. The paper is a sheet (9” X 12”) of Central Clay Coat, New York Central Art Supply. The drawing was done from a rather indistinct digital photograph. This is the first drawing I have made from a photograph of a living person; all other portraits have been done from life. In the future I will rarely attempt this again; I favor flesh and blood, and interaction between the model and myself.