Die 8 häufigsten Fehler beim Zeichnen! (und wie man sie vermeidet)

Material Simplify thumbnails look at the big picture Lighting up contrasts now sounds a bit strange, but hello, I'm Sebastian from Adels Travel and that's my left hand. Today is about 8 tips for beginners in particular. How can I get all eight? Tips? I've simply taught so many courses over the last ten years that at some point I sat down and asked myself what exactly all the kissing participants keep doing wrong at the beginning of their signing experience and these are the eight things about them that tell me. I would like to talk to you now and I would like to show them to you briefly so that you don't have to do them anymore, you don't have to do them wrong anymore first tip material Material you basically only need a few things i.e. eraser and paper, please use a smooth paper like this.

I use this one, almost everything else doesn't matter, it just has to be smooth, there are always the frugal ones who come to the courses and still have a little watercolor. paper at home, that's a recipe for disaster because what happened here, of course, is that when you draw you can see that you always have the structure of the paper in your drawing and that doesn't have to be the case, so first tip : soft white paper as far as the pen goes, maybe you can see that here a little bit with me, I use a relatively soft drawing pen, why do I do this just because it gives a more organic and beautiful line at the end? starting out and it doesn't look like an architect or technical draftsman 4b something like that and if you use that but otherwise you are well advised if you use a kneaded eraser and not a classic one Eraser why because the kneaded eraser, once you have kneaded until it is nice and soft, it's really good at getting these things out of place by rubbing them, but first of all because it just sticks, which means you can stamp as much dirt right off the sheet, so to speak, You can see here it's getting getting brighter and, of course, nothing stains.

The next subject, miniatures, which I see quite often, is a good example of someone starting over with a sketch, perhaps, for example, a figure of a person and most people have ambitions to do that. They want to cover their entire page with a drawing, so they start here in some way, let's say figure, head, shoulders, wonderful, everything still works well, they are very happy and then they get to the navel and the hips and realize that the fruit doesn't fit on the page, that can also happen at the top of your head, but somewhere, of course, it's not pleasant when you suddenly realize that I can't really get what I wanted to draw on my paper, that can happen to you the same thing with architecture and so on and so on.

Then of course it is also demanding, you must not forget to completely fill a DIN A5 or DIN A4 sheet with a figure. Wow, there's a lot to do. That, so my advice is to start small, take the paper and divide it into small thumbnails. That's possible. There can be four pieces here, there can also be three, that's not a big deal, so maybe 7 x 7 cm and and. and practice your things in small first then you can draw on the frame and suddenly your figure appears on the paper even though you are. You miscalculated that it doesn't work down there, so it doesn't work here anymore.

You have to grow. and you also have complex objects like architecture. Yes, God, now you just have to represent the skyscraper in 6 cm and 6 x 6 cm is easier to describe than just a whole page, so the second tip is not to cover. all the paper at once, but first look for guidance using small thumbnails. Number 3 is for simplicity and that is perhaps almost the most important of all the tips, we make it easy for you at the beginning so you don't feel like losing it. immediately and maybe you can get some results quickly instead of getting bogged down in details for hours.

You can simplify by simplifying the drawing. First of all, let's take the classic face. The proportions are approximately correct or if the nose is perhaps a little long and. I have to let the nose stop at the top here and so on. I can also see just by turning a circle around it if it's maybe too wide, too short or too long, or if the face is too high or if it fits me. well and my ears are in the right place and so on. I can see all of that in a simple moon face and then maybe I can add one or two things, maybe some shadows make the lids indicate everything that can be done from the beginning. from a simple moon face and you can see it yourself, then I can improve it, make it more beautiful, make it prettier, but from a very, very simplified drawing of a face and you can't do it by just adding It's the drawing when drawing is simplified dot dot comma line but you take it so you don't have to draw the car or the building or something from the perspective from the beginning.

To be honest, I wouldn't do that, I'd say just start. and imagine it right away, just look at the side of the car and try to understand the proportions of the car from the side and there's actually just two circles that are kind of round and then you have to look, the windshield is a little bit more inclined. There are two doors there or just one in the front, but these are all things that I can master, that I can measure, that I can look at. Here I don't have to have such perspective knowledge just by drawing the doors. car and drawing it from the side, the same applies to cabinet buildings for any still life, it doesn't really matter what you are drawing now, try to make it easy for yourself at the beginning, fourth point, look at the Big Picture, what do I mean by that?

The classic is the tree, so I told a group in the online course to draw a tree and then they started and then a lot of people started drawing a lot of branches and another branch and another branch. and a branch of a branch and another branch and another branch and when you return after half an hour they are still taking out branches and at the same time It doesn't matter if it is autumn, winter or summer Somehow there are course participants who. I love the branches and I think that once I have everything there, the tree will fall very easily afterwards.

Alternatively, they produce many leaves. You would also like to have a lot of leaves and you can really get desperate about that. It drives you crazy to draw leaves and branches and that's why my advice is not to do it at first, but first try to understand the tree in general. what do I want to say with that? The general picture of the tree is that it is young and straight. The tree is an old and crooked tree, that is what is on the tree that may have been struck by lightning somewhere and that is why there is a scar somewhere above the crown, which is a wide crown and spread, which is a gnarled trunk or a very young trunk so that First of all, you understand what the personality of this tree is and the same applies to buildings, you can also go there and say that we are actually the approximate proportions before start painting small windows, etc.

As a general rule, I always look at the big ones. The image first before getting into the details and small ones Rule number 5 Light Light actually makes everything there three-dimensional, exciting and rich in contrast, but first I have to determine where my light is really coming from, what it means no. It doesn't matter if now he draws a picture based on a photo or if he's outside or if he's thinking about something, it doesn't really matter, the process should respond to you at the latest and tell you where my light is. , the employee simply has our tree back and now he assumes the sun is there.

So this is very important information at this point, so before I make leaves or branches or anything else, I first determine where my light is and then I know where the tree casts its shadow, for example here, then I know that it is cast. a shadow on the trunk at the top, that is, in the crown, then I know that the crown is in the shadow here on the right side instead of on the left and it is down here than at the top at the top and then the crown becomes automatic already for a very, very simple plastic body and that also applies to the faces, so if I have a face like the dot, period, comma line, now I can base it on this. simple dot dot but labeling just paying attention to the direction of the light again Draw the shadows a little bit correctly and you know that one ear over here is in the dark and the other ear is lit by the sun, that the collar here is maybe in the darkness and the one there in the light, I didn't do anything very different.

I could have achieved much greater realism by simply drawing lights and shadows that I can only do with dots now. I didn't draw any details. Here, I didn't draw any eyelashes and as far as I actually made sure there was a shadow in the places where there needed to be a shadow and everything looks much more realistic, similar to the construction of the sixth. The rule has something to do with the fact that you should actually draw what you see and not what you think you see. It sounds a little strange now, but it's easy. Only the next wall is when I draw eyes or people in the courses draw eyes. so it normally looks like this, which of course has little to do with an eye, this is a symbol of an eye, this is an icon but not really an eye, this is what we have in our heads when we think. of an eye but not what people see in front of them when they paint an eye somewhere, whether of the living person or the image or what I know what they should see then it's a superior song what but There's an edge down there that It has a tear gland here on the left side, which also has a small step if you look closely at where the light hits, and if I now pay a little more attention to the light and the shadow, here of course there are a Shadows and stuff , so that's a little bit closer to what a real eye is because I just looked closer, closer than this here and that's what I mean when I say draw what you see, look closely and just draw yourself from your head. because in case of doubt that cannot work.

Seventh and penultimate point, the contrasts and you can see that right here on the page they are actually the salt in the soup of the drawing and I want to show what I mean by that. on a coffee cup If someone draws a coffee cup in a course and let's say they get the perspective pretty good when looking at it from above, then everything is drawn and opened beautifully and very talentedly, but people still come to me and he tells me yes. , I can still do it now without really looking at the mug somehow why not and what can I do differently and better and that's where the topic of contrasts comes into play, it's just a matter of saying that everything is drawn in one tone of grey. but it doesn't have to be that way, but if I look deeper into the cup, I will see at some point that it is getting very dark down there, it doesn't matter if there is coffee there as indicated here or not, the lower I go inside the cup. cup, the darker it gets and that I just have to see well and also be able to draw where the darkest places are on my cup so then I can go and not only draw the cup in a gray tone but also partially in very dark tones, um that then complete the typical mistake of a beginner is that in case or because I'm still not sure I really don't use these very dark tones that I can actually create with my pencil, that is, if I have With a scale like this, the beginner usually opts for this area here and you don't dare to pass by here and you don't consciously use it, but it is always in such a gray area and it is clearly recommended that you check it again. and again, maybe you squint, where are we the darkest places in this beautiful cup where I can show that I not only understand light and shadow but also contrasts and now comes the last, the last tip, I have the last Of eight?

This has to do with simple perspective. Something that all beginners, of course, and often experienced cartoonists too, are completely familiar with, but it doesn't have to be that way if very simple rules are followed at the beginning. It doesn't have to be difficult, so you don't have to look for vanishing points at first, you just have to observe certain things and also apply the simplest rule: the front is big, the back is small, so I will make a very simple and stupid, except I put boxes here in the middle, the actual body on top, somehow the roof underneath, maybe a little bit of the underbody, and then here.

Of course, the wheels so far so good, of course, it is not a particularly pretty car, but in general, the car consists of these parts. If I now use a very simple trick and say that every time there is something in the front, for example, here is this pole on the roof, it has to be bigger than what is in the back, so. I make that in the back, it's just smaller, it's smaller than that one, it's exactly the same here in the front, of course it's bigger than the one in the back, so I'm making the one in the back smaller, not that one.

It's already big, but smaller and just draw a connection here so you can see what happens without that. I'll explain a lot, I can do the same here on the front, which of course is a bit of a stretch. but if you can pull this back here, you can also pull it back here and you can see what's happening. The wheels are exactly the same at the front, a big wheel at the back and then a small wheel without it happeningnothing important if now. I do my light and shadow game from up there and I say the sun is now coming directly from the front, then you can see how fast this car is suddenly, now in perspective in quotes, it says the same thing works with a simple house, everyone can somehow build one In the house there is the triangle at the top, there is the roof on the side, so everyone can do it if I follow this simple rule again that here in the front it actually has to be the longest edge here in the back it's just a short one so I can pull this here drag it over it here in the front the edge is long here in the back the edge is shorter so I can make this short this long and you've got it one relatively simple perspective without vanishing points without anything but at least I can show it I understand it so those were my eight tips and rules for the things that beginners always do wrong repeated very briefly pay attention from the material start small, simplify as much as At first, fourthly, look at the big picture, whether it's trees, buildings or anything else, look at the outline, fifthly, pay attention to light and shadows, sixthly, don't draw what believe you see, seventhly, pay attention to dark places, contrasts and finally, completely simple perspective tricks.

Learn a little yourself. Maybe just find out through observation. Those were my eight tips for beginners. I hope they help you a little more. Just write to us in the comments. if it helped you or if it helped you a little more. Have fun trying it out yourself, have fun continuing to draw sketches, and until next time, goodbye to your artusrel Sebastian and his left hand.