Only mounting one of your own can allow you to appreciate the effect of quality mounting. A white border will make all the difference in the world.

To mount your painting in a very simple way you will need a sheet of clean and thick white paper. It has to be a few inches larger in each direction than the size of the painting. It’s impossible to give exact dimensions because they depend on too many things, but if your picture is 20 inches by 10 inches, for example, try to find a sheet of paper at least 26 inches by 16 inches. Narrow borders are better than no border at all, but they are not as good as wide ones.

Placing your picture correctly on its mount is very important if you want it to look as nice as possible. You have to put the sheet of white paper on a flat surface and then you have to put the painting or drawing on it, in what seems to be the best position.

Strangely enough, the painting will not look its best if it is exactly at the centre of the mount. The left-hand and right-hand margins should have the same width, but the margin below the picture should be a little wider than the one above it. If you do differently, the picture will look like it’s not firmly mounted. It won’t look as steadily placed, as it would if it was a little above the centre. If you don’t trust your judgment in placing your paintings on their mount, just do a little calculation. 20 inches from 26 inches leaves 6 inches. Divide this equally into two, and you will find that the left. and right-hand margins should be 3 inches each. 10 inches from 16 inches also leaves 6 inches. lf you decide to apply the rule for the top and bottom margin you should not divide equally, but into 3½ inches and 2½ inches, you will be able to make the top margin 2½ inches wide and the bottom margin 3½ inches wide. This way, your mounting will look better proportionned.

If you agree with this arrangement, mark the correct positions of the corners of your painting with small pencil marks. Then remove the painting, put a little glue on the back of each corner and put it back between the pencil marks on the mount. Put something heavy but clean on it while it dries. Then pin it up. You will be surprised how much better the painting will look once it has been correctly mounted !

In the presence of more than one source of light, an object will cast as many shadows as there are luminous sources – which complicates things somewhat since the shadows will overlap more often than not.

This is a real headache for the artist and your drawing can very often suffer as a result.

You will run up against the same sort of problem when daylight enters the same room through several windows.

What is a very pleasant and attractive situation in real life can turn out to be rather less so in a drawing when you strive to render a real effect with a minimum of means by ridding yourself of all but the essential!

So, when lighting an object you want to do draw, I suggest you limit yourself to one source of light for the time being. Once you have completely mastered the basics we are discussing here you can move on to more complex forms of lighting.

Since you are restricted to one source of light for the moment, try if at all possible to choose an angle under which the object is influenced from only one source or, better still, look for a subject which is better suited to this technical constraint.

Before you start drawing your object, ask yourself where you want to position the light. It’s a good idea to place it fairly high up so as to summon up the effect of natural light. This is in fact what artists used to do when they closed up the lower windows of their studios so that light streamed in only from above.

Incidentally, note that in an outdoor scene the lightest part will be the sky whereas indoors the strongest light will bathe the ground.

In addition to its height, the sun can be in many different positions in relation to the subject, and the part in the shade may variously be opposite you (the artist), on one of the sides, or behind the object if its illuminated side is facing the artist.

If the sun is behind you, the subject will be short of shade and if it is in front of you, it will lack light. That’s why a lighting from the side is the most attractive proposition as it affords a whole range of very pleasant nuances. Side lighting allows you to build up a composition in which there is a balanced and subtle interplay of light and shade.

That doesn’t mean, of course, that you can’t create beautiful effects in particular situations such as sunset landscapes where the shadows are turned towards the onlooker, but here the sky takes up a large part of the picture and we would not have the general impression of a lack of light as we would with an object seen against the light.

To sum up, always think carefully about choosing your lighting to your position whenever you cannot alter the illumination of your subject.

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.

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.

Using a third approach, Piet Herzeel makes the link between Visual Ray and Perspective showing us that all this is, first of all, a matter of vision. He explains how our eye aims at a main point around which Perspective gets buit up. It is a fact that, when we fully use our eyes, we focus on a precise point and, around that point, we feel the presence of a certain area with a very uncertain shape.

In the « discover » workshop we’ll understand why and how construction of Perspective depends, before all, on the observer’s position. What we call « the point of view » will allow you, once you fully understand the importance of it, to judge and feel your drawings more fully.

Knowing how to build in Perspective is important, but the observer’s point of view, which is the drawer’s point of view in most cases, will have a certain weight in the perception of the subject.
Piet Herzeel demonstrates, always with precise exemples, how different points of view can produce different emotions.

The workshop will help you to put in practice simple rules that will help you to find the principal point and the horizon line of any subject according to the angle. But the question is : can you do this freehand without any outline ?

Your turn now… Try out Piet Herzeel’s « drawings to do » and enjoy a few constructions of his own, made to challenge you !

Therefore, the artist must ask himself the right questions in his observation work. But the animal of your choice, whatever it is, will not pose for you. Piet Herzeel is giving us a method that will allow you to grasp the essential shape of your subject before he takes a position of no interest for your drawing.

The whole method is described in the « Discover » section of the module: « THE FIVE VOLUMES ».

First, we must start with an observation work of the five specific volumes of your animal. These first outlines will give you the essential of your subject’s aspect. You will be able to touch it up later whatever position your animal decides to take.

Before practicing on the animals around you, go to the « Practice » chapter in order to make a first attempt on the rocky mountain goat. Piet Herzeel gives you step by step details on what your eye must look for.

But that’s not all. You will find some extra training exercices with the sketch tool supplied in the module. Several animals of different species to draw in a limited amount of time. A little bit of stress at the beginning because of the countdown but you will be asking for more after you’re done.

With this method, you can show Piet Herzeel what you can do in the « drawings to do «  gallery.

You can pick your own model or one of those displayed on Signus.

The question is: will your sheet be big enough ?

This module is full of surprises. A present is actually waiting for you there and one last advice if you haven’t checked it out yet: go to Gallery/museum on Signus and admire « the young hare » by Dürer. The observation work is amazing.

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

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.

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.

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.

What makes the difference ?

With the other courses on the market.

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:

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.

Piet 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. »

Great is the temptation to go through the Signus lesson on landscape too quickly, to swallow it like a child swallows his candy. Be careful not to miss the essential.

Do you feel like a landscaper?
How do we find the answer to this question?
Having the technique to represent the various elements around us is rather useful, but not sufficient.

The different chapters in the lesson give you the tools that will allow you to identify more clearly your understanding of nature as a model:

Did you ever find yourself in the country with that “breath taking” feeling because everything seems so alive and majestic? Did you ever see the light makes the colours actually vibrate and have you ever felt the atmosphere full of that quite and peaceful spirit? Have you had the impression of well-being that makes you want to enjoy it as long as possible?

Joseph Mallord William Turner (1775-1851) loved agitated weather like thunder storms, wild oceans and strong winds…

John Constable (1776-1837) thought the sky should be the dominating element of a painting because “it is source of light and it overpowers everything”

David Cox (1783-1859) wrote, in his treaty on landscaping: « the main part in painting landscape lies in communicating to our spirit the most powerful effect that various landscapes can produce.”

What about you?
Do you know what really moves you in a scenery?

The quality of the Signus lesson on landscape lies in making you meet the subject with a strong observation work, true guide line of the Signus course, with a deep introspection, putting feelings into words, identifying what makes our spirit fully enthused.

What can you do? Start drawing, of course! But how? Do you start drawing lines or would you rather go with the masses? Do you outline right away or do you apply shades and fill up blanks? Maybe both at the same time?

So there are two approaches about drawing, LINES and MASSES. Unless you feel at ease with both ways, it is better to be good at one of them at least. Don’t get me wrong, my purpose is not only to allow you to figure out what is your favourite style but also to favour one style or the other according to what you are looking for. That’s the first question you have to ask yourself if you want to make an accomplished drawing.

In his class, Piet Herzeel gives us thinking paths all necessary to the construction of a deep and inspired drawing:

• What do you want to show or outline in particular?
• What tool to use? Which pencil to use and how hard?
• What would be the proper base? In what way can this influence your work?
• How to choose the best angle?

In the “workshop” tab you can practice with a concrete example and understand why, according to the subject you picked, you should choose lines or masses and how you can define and reproduce the right intensity of your masses.

Piet Herzeel shows us, step by step, how to build a scale with different shades of grey and how to sort them out in order to avoid having too many tones.

You can try out both styles in the exercises that Piet Herzeel suggests at the end of this module. You can, for example, make out a drawing according to the chart that you just created.

Pencils ready! Squint your eyes! Start drawing!

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.