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Signus – Draw Like A Pro http://www.drawlikeapro.com Are you ready to become a real artist ? Fri, 20 Nov 2015 11:06:55 +0000 en-US hourly 1 https://wordpress.org/?v=4.5.12 Art training courses in Brussels http://www.drawlikeapro.com/art-training-courses-in-brussels-389/ http://www.drawlikeapro.com/art-training-courses-in-brussels-389/#respond Sat, 22 Oct 2011 07:25:28 +0000 http://www.drawlikeapro.com/?p=389 Every so often, a teacher needs to face a real live class. Piet Herzeel, founder of the Signus online drawing course, firmly believes in this. Actually, after many    months of putting the online course together, he had a true need for a live class… It was also, for him as well as for the students, […]

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Every so often, a teacher needs to face a real live class.

Piet Herzeel, founder of the Signus online drawing course, firmly believes in this. Actually, after many    months of putting the online course together, he had a true need for a live class…
It was also, for him as well as for the students, a great opportunity to enjoy the wonderful city of BrusselsHe has had two sessions so far during the past two summers.
The first one was only devoted to oil painting, Flemish technique and last summer had a little more  variety with a session on dry pastel, live nude drawing and also Piet’s specialty again, the oil painting,  Flemish technique.

The sessions usually take place at the end of july when people often have a little more time. They take place at the 1st and 3rd floor of a private house located in a peaceful street of Ixelles. The second floor is actually used to lodge a few students. Meals are taken on the spot during the lunch break or at one of the small restaurants of the area depending on your preference.

PASTEL TECHNIQUE


In just a few days, you will know all that you need to know so you can find out how you can appreciate this  particuliar technique.
All Signus training sessions require a minimum of knowledge in drawing but you don’t need to be already a pro.

The material.
For the last sessions it was asked to bring dry chalk pastel as well as pastel crayons. As for the paper, the half tint sheets are fine.
You can find several kinds of paper at the school in order to become familiarized with the different sorts.
If you cannot bring any pastel, you will be able to find some there at a very affordable price.

OIL PAINTING

Painting by student

Piet does not wish the students to bring any material. All you can bring would be an apron, rags of coton (not fluffy. Bed sheets per example), 3 small empty jelly jars. The paintbrushes you are supposed to bring will be described early next year.
You can also bring two or three nice looking objects of your choice that you will be able to paint after you organize your still life. A choice of appropriate objects are available there and you can also paint a fruit or some food that you can buy in the neighborhood.

LIFE MODEL DRAWING

Live nude drawing

For the life model drawing, you will find all the necessary material in the room but if you prefer, you can bring charcoal crayons or chinese brushes if you are used to them. Some students feel more at ease with their own material.

And after a whole day of learning and practicing, the city of Brussels is to be visited with its history and museums…  Piet always makes sure everybody has the best possible time.

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The fan… http://www.drawlikeapro.com/the-fan-374/ http://www.drawlikeapro.com/the-fan-374/#respond Tue, 21 Jun 2011 17:37:52 +0000 http://www.drawlikeapro.com/?p=374 Where does the hand-held fan come from ? The Orient supposedly… When was it first used ? Since the creation of woman, with no doubt, ladies being naturally so charming and this attire being so elegant must have appeared the same day woman first existed. I’m convinced that Eve was using one in the garden […]

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Where does the hand-held fan come from ? The Orient supposedly…
When was it first used ? Since the creation of woman, with no doubt, ladies being naturally so charming and this attire being so elegant must have appeared the same day woman first existed. I’m convinced that Eve was using one in the garden of Eden. Her fan, bird feather, leaf or flower, to be more primitive, was nonetheless a fan !

Whatever its age or its origin, we must admit that it is the most charming piece of jewelry and the most precious ornament on a woman. It is actually the pretext for so many gracious moves and ravishing poses.

Sometimes mysterious, sometimes frivolous, imperious or teasing, it allows the protected face to shelter or to hide a smile, dry off a tear. It’s used more often to restrain a yawn due to a boring affair or to conceal a burst of blush listening to a hot story, than…

To keep off bugging flies,
To protect from the cold when the sun goes down,

Nothing more fanciful, alert, spiritual than the hand-held fan :

A fan can express all that you feel,
all that a heart can suffer.
It can flatter, refuse, agree,
condemn and approve.

It is therefore not a surprise that it has inspired so many poets and suggested delicate illustrations to
so many artists. Such as Watteau, Fragonard, Lancret, Moreau the young if we only mention the XVIIIth century artists, when nicely decorated fans were in fashion !

To make a pleasant composition and create an attractive painting on a fan, one must know how to do a little bit of everything, one must bend to all conceptions.

There is no limit in the composition of a fan or a screen blind.

All subjects can be painted, no matter how strange it may look, as long as you stay away from the common and the trivial : one can remain gracious while being original at the same time, treat highly unconventional subjects while keeping a good taste, even use, as decorative motive, unexpected objects or quite ordinary things while staying distinguished.
It all depends on the way you make your composition and interpret your work.

You can use a vegetable as well as a flower ; you can use a fish or a bird ; a dog, a cat, a rabbit can
make a terrific subject. I even pretend that the little pink pig can be a very pleasant subject. It can be part of a charming little scenery.

It has been said that, in faraway countries, that fairies can turn ugly things into gold or precious stones ; all you have to do is to pick something trivial and turn it into something beautiful and charming…

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The cat http://www.drawlikeapro.com/the-cat-368/ http://www.drawlikeapro.com/the-cat-368/#respond Sun, 29 May 2011 14:55:37 +0000 http://www.drawlikeapro.com/?p=368 The cat, in spite of the respect, admiration and sometimes worship that man has or had for him, has not suffered from the centuries of selective breeding. Unlike the dogs, the cat’s anatomy has remained the same altogether. The actual cat that we all know is quite the same as the one worshiped by the […]

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The cat, in spite of the respect, admiration and sometimes worship that man has or had for him, has not suffered from the centuries of selective breeding. Unlike the dogs, the cat’s anatomy has remained the same altogether. The actual cat that we all know is quite the same as the one worshiped by the pharaohs.
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Even his big brothers such as the tiger, lion or panther, have kept their typical shape. To summarize, we can depict the cat’s body as narrow from one end to the other. The back legs, higher than the front ones, give him that powerful look and the wide jaws show the hunter in him blow up water slides. The forehead is receding and the ears far apart. The eyes are wide and round with an expression of concentration. The neck is short and strong. The cat always gives an impression of suppleness and the abundant skin sort of hides all anatomical details.

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The right treatment http://www.drawlikeapro.com/the-right-treatment-324/ http://www.drawlikeapro.com/the-right-treatment-324/#respond Tue, 25 Jan 2011 19:53:55 +0000 http://www.drawlikeapro.com/?p=324 If you give the same subject to different people to draw, their work will be necessarily quite different. Besides how correct the outline is and how accurate are the proportions, what matters is how is what kind of treatment was chosen. Sometimes, drawing in lines can give a very accurate description of distances, light, shade […]

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If you give the same subject to different people to draw, their work will be necessarily quite different. Besides how correct the outline is and how accurate are the proportions, what matters is how is what kind of treatment was chosen. Sometimes, drawing in lines can give a very accurate description of distances, light, shade and perspective just as well as any type of mass drawing. We also have plenty of examples of masterpieces where the outline is totally put aside and shading used as the main technique. After all, the outline doesn’t belong to the subject. Furthermore, it changes as we change position. Figs. 1 and 2 show us two drastically different ways to draw. Fig. 1 is 100% line technique and Fig. 2 is pure mass drawing. It would be hard to say which one is more accomplished than the other. Obviously, each one has its charm and style, each one is as respectable as the other. It’s hard to set up a general rule. An artist might prefer one treatment to another because of many possible reasons. Also, a subject might call for one treatment more than the other. Besides all the variety in the choices, it is to be said that a good work calls for consistency throughout the work. Drawing in lines As you draw in lines, you should use different widths of lines depending on the distance of the subject. The nearest to our eye, the thicker the stroke should be and of course the furthest away, the thiner it has to be. Actually, some lines, as they represent a scene far away can be almost invisible, barely suggested (Fig. 3). As it can be a good thing to add objects to give roundness to drawing, it could be more difficult to respect the laws of perspective when using the outline approach. Fig. 4 gives a good example of a simple drawing done with the line approach. Fig. 5 shows us how details can totally change the general aspect. You can see how the perspective on all the details on the coin are respected. Sometimes, it is possible and even recommended to leave gaps in the outline if you want to depict an excess of light or if you want to give an effect of speed. Those techniques come from the very essence of human vision. The way we focus on certain things more than on some others changes our perception of what we really see. In order to catch the essential, the eye (or the brain) omits or simply guesses parts of the lines that are actually there. For the same reason, you can also draw a mass of lines going in the direction of the speed and simply suggest the background . Drawing in masses Always remember that when the light on your subject is bright, the contrast of your shading must be emphasized. The shadows must be darker and the parts facing the light must be lighter specially indoor. In general, shading has to be regular. There are quite a few ways to put lines together in order to obtain different effects. The thickness, the spaces between the lines, the curving of the lines and the ending as well as different effects can be used. The first step would be to practice lining up series of parallel lines and then you can practice adding up new series of lines crossing each other. It’s better not to make the second set of lines at a right angle so you avoid having that checked effect. If you cross the lines in smaller angle, you end up having a much better effect. Most the time, as the angle from the light changes, the shaded part gradually lets the light cover the surfaces. So if you want to show that progression, you can use broken lines with bigger gaps as the light appears. Those gaps shouldn’t be opposite to each other though. The thickness of the strokes and the distance between them can also be used for showing a certain variety in the tones. Another well-known technique is to use a big amount of dots, just like in newspaper printing. Sometimes, it’s hard to cover a big surface with parallel lines so you can use the small blocks of parallel lines. Of course, those techniques (Fig. 6 to 12) are a small example of what can be done and after mastering in what you see, then sky is the limit when it comes to the tricks you can use to express your vision of our beautiful world…

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The direction of the light http://www.drawlikeapro.com/the-direction-of-the-light-285/ http://www.drawlikeapro.com/the-direction-of-the-light-285/#respond Mon, 12 Apr 2010 09:17:39 +0000 http://www.drawlikeapro.com/?p=285 There is something else you need to take into account: the direction of the light, or to be more precise, where the light is coming from, the place where it originates. Whenever the luminous source moves, a shadow changes its shape and position. A standing figure will cast a short shadow at midday when the […]

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There is something else you need to take into account: the direction of the light, or to be more precise, where the light is coming from, the place where it originates.

Whenever the luminous source moves, a shadow changes its shape and position.

A standing figure will cast a short shadow at midday when the sun is high in the sky, and a long one in the evening when it starts to slip below the horizon.inflatable trampoline australia

The higher the source of light the shorter the shadows. In the summer, when the sun is set higher in the sky, the shadows at noon are not as long as they are in winter at the same time. There are even parts of the tropics where the sun is sometimes vertical and a stick set upright in the ground will cast no shadow. But that is an exception. Conversely, the shadows lengthen considerably in the morning and in the evening when the sun is low in the sky.

Objects, lighting and shadow

Objects can receive three kinds of light: sunlight, ordinary daylight and artificial light. Their aspect and that of their shadows will vary depending on which of these lights we see them in.

Generally speaking, the brighter the light the stronger and sharper the shade. This is the case when an object is exposed in full sunlight. If the light is indirect in an overcast sky, the shadows are less distinct and less contrasted, and they tend to disappear completely in diffuse light.

When an object is lit by a single source of light, its sides situated opposite the light are said to be in the shade, whereas we use the term “projected shadow” to define the dark form cast by the illuminated object on the ground or on other interposed objects. This projected shadow is the result of the absence of light at the place where the luminous rays are intercepted by the object.

Shadows take the same form as the objects by which they are cast. For example, a rectilinear figure will cast a rectilinear shadow and a curved object will have a curved shadow. But the shape of the shadow varies according to the form of the surface onto which it is cast.

In sunlight, the source of illumination, that is to say the sun, is so far away and so powerful compared to the objects it illuminates, that the rays of light falling on our planet are supposed by convention to be parallel and this is how they are always treated in daylight scenes (although in fact, as with any luminous source, they “radiate” from the centre of the sun).

The thing to remember, then, is that, in natural light, you should treat the rays as though they were parallel.

The higher the source of light the shorter the shadows. In summer, when the sun is set very high in the sky, the shadows at noon are not as long as they are in winter at the same time. There are even parts of the tropics where the sun is sometimes vertical and a stick set upright in the ground will cast no shadow. But that is an exception. Conversely, the shadows lengthen considerably in the morning and the evening when the sun is low in the sky.

In sunlight, parallel rays will cast parallel shadows which, seen in perspective, will naturally converge towards the same vanishing point.

If the shadow cast by a solid object is intercepted by other objects, for example a fallen tree trunk, a wall or a staircase, it is “carried along” the surface of these objects. The exact form of the shadow will be determined by the points of impact of the rays passing over the perimeter of the illuminated object and continuing towards the object receiving the projected shadow.

This shadow also obeys the laws of optics and will have to be put into perspective in order to give a realistic effect.

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What level can I hope for ? http://www.drawlikeapro.com/what-level-can-i-hope-for-256/ http://www.drawlikeapro.com/what-level-can-i-hope-for-256/#respond Mon, 25 Jan 2010 13:05:32 +0000 http://www.drawlikeapro.com/?p=256 Our free trial on SIGNUS is actually a wonderful entrance hall to the world of drawing. It’s not designed to actually give you a certain level but rather to show you what drawing really means, how much time you will need to reach the level you want or what kind of satisfaction you can expect. […]

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Our free trial on SIGNUS is actually a wonderful entrance hall to the world of drawing. It’s not designed to actually give you a certain level but rather to show you what drawing really means, how much time you will need to reach the level you want or what kind of satisfaction you can expect.

As for the full SIGNUS course, on the other hand, I can say with no hesitation that, for most students, a very high level can be reached. For some, it will take 6 months and for others, 18 months. It all depends on the amount of time invested by each one according to the availability.

Technique as well as creativity are both necessary in any artistic occupation. Those elements play a major role in the student’s improvement and they can be quite different depending on the person.

One will often be more at ease in an area more than in the other and, when both aspects meet, that’s when the work can become a masterpiece. That’s what I wish you to discover if you decide to follow the full SIGNUS course.

The free trial is not a full class, it’s only an initiation. It would not be honest on my part to let you think that it will make an advanced artist of you. You can find, however, plenty of fun and discoveries in the world of drawing. No need to reach for a level, then. It doesn’t have to be a goal in itself. You should, instead, ask yourself what could bring you a good amount of satisfaction and joy in your life. Drawing is practically a way of life. Think it over…

Piet Herzeel

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Signus http://www.drawlikeapro.com/signus-233/ http://www.drawlikeapro.com/signus-233/#respond Tue, 15 Dec 2009 11:16:51 +0000 http://www.drawlikeapro.com/?p=233 7 years of development to elaborate an outstanding online drawing class. Signus is an e-learning  platform dedicated to the art of drawing. Result of 7 years of development, Signus is built on the most innovating technique in order to recreate online the real life of a drawing workshop with communication between students and regular advices […]

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pantin

7 years of development to elaborate an outstanding online drawing class.

Signus is an e-learning  platform dedicated to the art of drawing. Result of 7 years of development, Signus is built on the most innovating technique in order to recreate online the real life of a drawing workshop with communication between students and regular advices of the master, with commented corrections, exercises, animations…
But there is a lot more: The Signus workshop is open 24/7 and students from each part of the world can meet at all times Inflatable Pools.

signus_capture1

Characteristics of the Signus platform

Innovating : This interface owns an e-learning platform dedicated to the teaching of visual arts. Signus was sponsored by the French ANVAR (Research and Value National Agency).

Rich Media Interface : Signus uses all the Web Multimedia tools: remote corrections with a graphics tablet, virtual classes, audio commentaries, videos and 3D in order to create a warm and lively atmosphere. Signus vividly plays the card of the online community and of interactivity.

Full and academic : 104 modules (class) as of today or in other words 2 years of daily class at the rythm recommended by Piet Herzeel, creator of Signus. It represents the equivalent of a 2400 page book. The teaching structure is available by branches (anatomy, shadow and light, perspective, composition, …etc) and has an impressive documentation and library of models.

Accessible to all : The access through Internet and a very affordable fee make it accessible to anybody in the world.

Who is SIGNUS for ?

  • Amateurs, from the beginner to the advanced, anybody who wishes to learn how to draw or how to improve.
  • Future professionals who can train on SIGNUS.
  • Computer graphics designers who want to improve their  skills.
  • Numerous professionals in various areas such as design, artwork and art-therapy.

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What do you need to draw on Signus ?

What machine and what softwares: An Internet connection, preferably fast, a PC, Mac or Linux, a recent browser (SIGNUS is regularly optimized for the free and multi-platform browser, Firefox), a scanner or a digital camera.

Supplies for drawing:  a ream of white paper, a pencil and an eraser are sufficient to start with. The material needed is always affordable.

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What makes the difference ?

With the other courses on the market.

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A very progressive learning process with structured modules. Once registered, each member can reach his modules at the pace of one per week. However, each member is free to devote the time he chooses to.

A free trial period with no engagement. Each new member can try Signus for free, before subscribing. A certain number of modules are actually given and he can enjoy them for as long as he wants.

A 100% money-back guarantee. Signus refunds the current month to anybody unsatisfied.

A personalized and active follow-up. Different animations in order to motivate students and help them develop their creative potential, forums on every module, chat between the students…

A multi-leverage giveaway program designed to encourage members to improve and to thank them for their loyalty. Bonuses, presents, a turnkey gallery, contests, surprises…

A few numbers about SIGNUS:

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2002-2007 : Development of the Signus innovation program.
January 2008 : Launching of the beta testing period with real users in France. Rising of the community with a progression of a 1000 members average per month.
September 2009 : Birth of the French SIGNUS. About 25,000 French speaking members.
December 2009: Launching of the English SIGNUS.

pietPiet Herzeel, founder of SIGNUS. An artist who spreads the word.

« Signus is the fruit of 20 years of personal experience and research in three different areas: arts, distance teaching and NICT. First of all, however, Signus is a human adventure.
It appeared to me essential to never let the new technologies used on Signus hide the real stake of such a platform. After puting together all the teaching skills acquired in actual workshops and analysing the real motivations of Internet users eager to learn, Signus is generously using a vast palette of new technologies.
Founded on a very audacious concept, Signus always went ahead of the users daily requests. This proactive stage allowed them to make the most of the many developments and adjustments of the tool.
A whole community of artists make it their daily social, cultural and artistic meeting. Signus is now spontaneously animated by people of all ages, places and social backgrounds. Used to be in constant motion and thanks to the success that we know today, Signus will continue to enrich continuously in order to remain the reference in its own field and allow its members to give birth to talents until now hidden. »

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The Canons http://www.drawlikeapro.com/the-canons-218/ http://www.drawlikeapro.com/the-canons-218/#respond Wed, 16 Sep 2009 10:34:44 +0000 http://www.drawlikeapro.com/?p=218 As a child, I’m sure you were already drawing people as you saw them with your own eyes and your simple understanding of details and proportions. Today, I’m sure that you draw people a lot better but you probably still wish to make them more realistic. How can you make your drawings of people look […]

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As a child, I’m sure you were already drawing people as you saw them with your own eyes and your simple understanding of details and proportions. Today, I’m sure that you draw people a lot better but you probably still wish to make them more realistic. How can you make your drawings of people look real?

If you want to learn how to draw the human body, you will need to respect the “Canons of the Human Body” as we call the model used for reference in order to draw a body with correct proportions.

The first to be known whose proportions are listed in a chart goes back to the Egyptian Middle Kingdom. To establish a canon, one needed to decide what was “beautiful” in a body and gather those rules in one single model. Of course, the concept of beauty is quite subjective and discussions are still vivid.

In the Signus drawing course, Piet Herzeel explains very clearly what a canon is and how useful it is in the art of drawing. He introduces different models to us and then shows us how they evolved in time and how to use them.
Piet Herzeel defines what should be a good canon for the drawer.
In the special workshop about the human body, thanks to the step by step explanations, you will be able to draw a person with realistic proportions.
This first approach gives amazing results. In the “drawings to do“ chapter  you can have fun building different bodies using the special charts.

Short, tall, fat and skinny people… You can give the right proportions to all your characters thanks to Piet Herzeel’s explanations developed in the specific module about the human canons.

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What do we need to be an artist? http://www.drawlikeapro.com/what-do-we-need-to-be-an-artist-211/ http://www.drawlikeapro.com/what-do-we-need-to-be-an-artist-211/#respond Fri, 28 Aug 2009 10:20:50 +0000 http://www.drawlikeapro.com/?p=211 First of all, let’s get rid of questions useless to any student: Do I have talent? Am I gifted? You are what you are and if you take pleasure in studying how to draw, you have just enough talent to enjoy yourself and appreciate the different improvements in your skills. bounce houses In Signus drawing […]

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First of all, let’s get rid of questions useless to any student: Do I have talent? Am I gifted?
You are what you are and if you take pleasure in studying how to draw, you have just enough talent to enjoy yourself and appreciate the different improvements in your skills.
bounce houses

In Signus drawing course, Piet Herzeel shows us how to concentrate on what’s essential: What do we really need to improve?
Here are the main tools we will be using all along the course:

  • The method:

Piet Herzeel’s program is very progressive. It allows you to fully and deeply improve what needs to be improved.

  • The material:

We learn how to use the different tools for drawing and how to choose the one most adapted to your projects and to your sensitivity.

  • Ideas and inspiration:

That’s where any creation starts but there is no inspiration without a source. It’s
one of Piet’s Herzeel’s goals to show us how to find that source.

  • Time:

Don’t be afraid to let time be your ally in the learning process.

  • Desire and pleasure:

That’s where the motor of the whole process lies and as such, it needs to be regularly trained.

  • Develop your skills:

Your brain, your eyes and your hand must learn how to work together toward the same goal: drawing.

Finally, with the exercises to be done at the end of each module, Piet Herzeel gives us a practical demonstration of the many differences between the images we engrave in our memory and the reality.

First of all, let’s get rid of questions useless to any student: Do I have talent? Am I gifted?

You are what you are and if you take pleasure in studying how to draw, you have just enough talent to enjoy yourself and appreciate the different improvements in your skills.

In Signus drawing course, Piet Herzeel shows us how to concentrate on what’s essential: What do we really need to improve?

Here are the main tools we will be using all along the course:

  • The method:

Piet Herzeel’s program is very progressive. It allows you to fully and deeply improve what needs to be improved.

  • The material:

We learn how to use the different tools for drawing and how to choose the one most adapted to your projects and to your sensitivity.

– Ideas and inspiration:

That’s where any creation starts but there is no inspiration without a source. It’s

one of Piet’s Herzeel’s goals to show us how to find that source.

Time:

Don’t be afraid to let time be your ally in the learning process.

  • Desire and pleasure:

That’s where the motor of the whole process lies and as such, it needs to be regularly trained.

  • Develop your skills:

Your brain, your eyes and your hand must learn how to work together toward the same goal: drawing.

Finally, with the exercises to be done at the end of each module, Piet Herzeel gives us a practical demonstration of the many differences between the images we engrave in our memory and the reality.

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Two modern painting giants meet in Aix-en-Provence (France) http://www.drawlikeapro.com/two-modern-painting-giants-meet-in-aix-en-provence-france-166/ Thu, 11 Jun 2009 13:41:35 +0000 http://www.drawlikeapro.com/?p=166 (From mai 25th until September 27th 2009) The influence of Cezanne on Picasso is a well recognized and interesting fact among art lovers. The intimate motivations and passions of an artist are always a thrilling aspect of art history. His respect and passion for Cezanne is well illustrated by the purchase of the chateau de […]

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(From mai 25th until September 27th 2009)

The influence of Cezanne on Picasso is a well recognized and interesting fact among art lovers. The intimate motivations and passions of an artist are always a thrilling aspect of art history. His respect and passion for Cezanne is well illustrated by the purchase of the chateau de Vauvenargues at the bottom of the “Sainte-Victoire mountain” in 1959.

Through 110 paintings, drawings, water-color paintings and sculptures, the Granet Museum focuses on the respectful passion of Picasso for Cezanne.
The recent exhibition at the Grand Palais in Paris, “Picasso et les maîtres” showed us an artist, admiror of ancient painting. At the Granet museum, as he presents the love of Picasso for Cezanne’s work , Yves Kneusé uses a bare and even austere decoration as a reminder of the humbleness of Picasso toward the old master. It reminds us of the “Château de Vauvenargues” and its rough and peaceful garrigue (scrubland).

A CONSTANT INFLUENCE

Facing the one he always called “Monsieur Cezanne”, the one he never even dared to meet, the one he saw as his “one and only master”, Picasso is not the conquering adventurer of “Menines” or of “Alger women”. When he decides to climb the Sainte-Victoire mountain more than half a century after the death of the genius of “Provence”, he picks the north side. Almost like he wouldn’t dare going the south side, the dangerous one, the one Cezanne diffracted more than 80 times, revolutionizing art in an irreversible way.

When he thinks of Cezanne who was the most cultivated of the impressionists, Picasso doesn’t put himself first; he is not tempted to play his own role as he often does. What he sees first in Cezanne is the thinker in the process of imagining his own painting says Bruno Ely, director of the museum who, by the diversity of the paintings and drawings, proves himself right.

The exhibition, on about 400 m2, has four sections on two levels. On the bottom floor, Picasso gets the feel of Cezanne’s techniques (sense of values, structuring touch, a permanent lack of balance which, in the end, gives a true balanced composition) and of his themes (Harlequin, the white compote dish, the pipe smoker). We all see the love and respect for the master.

We admire, here, a great understanding of that period of Picasso’s work which is not as well known as the blue, the pink or the cubist period but yet, full of life and vitality. At the age of 77, Picasso finds, in the work space of Cezanne, a new youth.
He also painted sceneries. He painted three times the village of “Vauvenargues”. Unfortunately, we will not be able to enjoy “nude under the pine tree” which had to stay in the Chicago museum.

The Picasso family was actually very generous as they lent forty unpublished paintings. Other museums gave us access to many exceptional masterpieces like that splendid Harlequin by Cezanne who had barely ever left The National Gallery.
Altogether, the exhibition gives us another vision of Picasso’s immense work as we discover, through modern techniques, one major source of inspiration of this master of the 20th century that was Pablo Picasso.

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