My key learnings from you so far: 1. Mistakes are learning. Embrace the suck. 2. One perfect study might be luck so do 100+. 3. Repetition is results from reinforcement. Space it out to destress the suck.
That's a pretty good summary! I would add that the 'autopsy' of mistakes and successes helps guide the next attempt, so the suck should be gradually lessening over time, at least in that particular aspect of art. But then you find a new part to suck at, and that sucks.
On the part about 'designing stuff' I think it's important to mention I've watched all your videos but I don't really know what you're into. All I know is that you're super passionate about art theory / learning. Even the artists you talk about liking is in the context of their technical skill not the subject / emotions of the piece. (Well aware this might just be how you present the video, not reality) I think that's an important observation, but I don't know what you should do with it lol Whats the fantasy of the work you'll create at 10,000hrs? Love when you drop your videos, always interesting! Bring on 400.
Thank you! That's a very good observation. I'm a bit of a weird anomaly in this respect because I don't really have a goal apart from the skill acquisition. Ideally I would be able to draw whatever I want from my imagination, and paint the same way. I think this is a super power. You can take whatever stories or ideas you have and share them with other people. I think it's amazing that people like Kim Jung Gi could do this and bring their inner visual thoughts to reality for others to see. I do have ideas for stories I would probably like to illustrate someday, but I don't have any plans to become a concept artists or anything like that. I do agree though that having a passion project is a key aspect of this, and emotion is important in art. I use this approach to learn other things as well like origami, and I think my passion project has just become understanding and exploring the way we learn in general 🤷♀️ I hope to make more videos about that in the future. Glad you like the videos and I appreciate you following along! 💖
found your channel this week and immediately binge watched all your videos, theres so much to learn from them and is helping me a lot with my journey so thanks so much
Long term subscriber here. I watched one of your first videos about the ethos of neuroscience for drawing and was inspired, I've been drawing consistently for a year, and whilst my approach was quite contrary to yours, I want to thank you for the amazing advice and book recommendations. My approach was finding a way to first be consistent, my biggest flaw, as many, is not committing to anything. I decided to instead focus on having fun. Drawing what stands out to me, not worrying about perspective, fundamentals, but instead finding the inspiration to draw every day. Around the 1-2 month mark something mentally changed, instead of trying to find inspiration, the habit of drawing had become ingrained in me enough to get to the point where I wanted to draw regularly (albeit not everyday), and the enjoyment came from not the end result, but the process of drawing. Instead of worrying about the fundamentals at first, I just drew, and in this first year of consistency I have found massive improvements in my understanding of a lot of things, just from doing. I know I will plateu soon, and this may be the year I begin taking a more structured and focus approached, mixing in concepts of perspective, anatomy and colour theory, especially with form and values. I think my biggest goal is values especially, I can pick any colours, if the values are good I'm a strong believer in the piece looking substantially better. Thanks for the great videos :)
Congratulations on hitting the 300 hour mark! I'm always interested to watch your videos - your art is wonderful, and the thoughtful, kind approach to how you work is great to see. Another commenter mentioned that you (at least what we see in these videos) don't necessarily engage emotionally or produce work that demonstrates things you like in terms of design or storytelling. Some of your work has a sci-fi touch to it, especially vehicles, and they're some of my favorites. I'd be very interesting in seeing you take some time to expand on that, and draw things that you really enjoy outside of the technical skill aspect. Again, love the work, love the videos, and especially I love the passion you so obviously have!
Thank you so much for posting this, it really helps my journey in art. It keeps me motivated knowing that my art can improve by practicing and learning. Keep posting!
Re: KJG, yeah, you're absolutely right! I've seen many interviews of him refuting that he has photographic memory. Don't get me wrong, his memory was great, due to 10s of thousands of hours of doing observational drawing, which in turn made his hand eye coordination and muscle memory second to none. As proof, I've seen him turn to talk to an audience member while he was simultaneously drawing. And as you said, he considered the whole piece when he placed the next line. You will notice he draws each line very carefully and slowly--he doesn't draw each line fast at all! That's why his line work is more wobbly compared to a comic book inker. Ever notice how he jumps around from a totally different place on the drawing to way on the other side sometimes? He does this because his line work is the actual perspective grid hidden in the artwork. So if he needs to establish a vanishing point or another axis, he will do that with another image that contains such a point or angle needed. He truly was a genius. RIP Master Kim Jung Gi.
Oh, I have seen him do that yeah. Makes sense! He was the GOAT. I would love to know if he had lived to like 90 how much more he would have improved, or how his artwork would have changed. He seemed to still be very inquisitive and open to learning new things.
congratulations on 300h of practice! perhaps others already told you so, but you having this channel helps others tremendously - I, for one, have motivation to practice more often just by witnessing your example please, keep going and may your journey be a joyful and fruitful one
Thank you friend! Same to you! It's equally motivating to know that it helps people, and I am grateful that others are inspired by the videos. I would be doing this anyway, I originally just decided to record it in case it helped someone haha ❤
Yep! I have had a few people say the music is distracting and it's actually really hard to get the volume right because it seems to change between the editor, the final video, and the output device people are listening on, so the music might have to go! Appreciate the feedback! 💕
Regarding drawing and painting as decision-making - you might be interested in a detour into landscapes. Landscapes present a problem that can feel overwhelming from the lens of constructive form; while you can draw them in a technically accurate way, the approach that more people find suitable is to apply texture and value shapes to indicate the features of the landscape without following exact proportions, which exercises a different observational skillset. I've been working through studies from Jack Hamm "Landscapes and Seascapes" and he has a great sense of how to introduce abstraction and stylization into simple graphite or ink sketches. As a result, when I return to characters I notice that I am making landscape rendering decisions, where it doesn't particularly matter if I use the real form if I make the composition pleasant.
I liked what you said about each line dictating the next. It's just like when we talk-sometimes we say the wrong word, but we recover gracefully and are still able to convey our thoughts without appearing as if we blundered our speech.
Thanks! I appreciate that! If you can set aside 1 hour a day for some focused and deliberate practice, then it's like a bucket filling up drip by drip. Eventually it overflows! I appreciate you watching and have every faith that you too can achieve whatever goals you have 👍 everything you will ever need is already in between your ears 😊
So cool to watch your progress and work. One of the most valuable things to see is how deliberate your practice is and how you make each hour count. If I doodle for 15 minutes per day, that’s good and better than nothing. But it’s not going to drive my skills forward like an hour of deliberate, targeted practice could. Your dedication is an inspiration! Thanks for sharing your journey with us!
Thanks! Anything is better than nothing for sure, but yes I believe that this sort of focused practice is key to improving at anything from ballet to painting portraits. You cannot actually do it for long though! That's why I break it up into 30 minute sessions with a break in between normally. Thanks for watching and sharing your thoughts ❤
Again, i applaud you for reaching 300h and documenting a lot of it, it's extremely impressive and motivating and the stacks of paper show it. It's making me rethink how i study and wanting to create a more solid routine. You're definitely making progress and i'm blatantly stealing some of the exercises you've shown here and in your shorts! While im nowhere near the level i want to be regarding heads, what has been working for me is drawing structurally in big forms like an egg for the cranium and merge it with half cylinder for the rest, not always explicitly drawing it out. And using the idea of the box to find key proportional landmarks in perspective, even if the other ones are obscured, as we are symmetrical. Examples being the corners of the eyesockets, cheekbones, chin, corner of the jaw etc, basically running an imaginary straight line to the other side even if it's obscured. While the surface stays curved. Then i carve into it creating planes. Or add another structure like a spherical form for the tooth area. Not always explicitly drawing out some of the steps but at least thinking about it. In that sense it's not much different than what loomis does in his book as it's all just treating it structurally. Other times i draw a box and start extruding out some points sitting on the browridge and centerline, creating some curvature and then building up the cranium, carving planes, it's just connect the dots. Not sure if it was KJG, Peter Han or someone else but they showed and mentioned something that always stuck with me, and you mentioned it too somewhat, It's that the first drawn line determines the perspective and relates everything else to it. Leaning more into that idea, while a line might be curved, it still has specific points on it that can be seen as the "front" or "side" if you extrude a straight line from it. So you can draw a curve and still use it as a perspective guideline reliably. Even dots, it's why i find using specifical anatomical landmarks useful. Anyway, looking forward to the next hundred hours and videos, keep going!
Haha, please take whatever you want if it helps you learn and grow! I think your remark about drawing the 'unseen' side of the head is probably something I've not touched on that's actually really important for both the curve and box approaches, so thank you for bringing that up. I'm looking forward to trying all these great tips people mention here in the comments! ❤✨
Congratulations my man! It's so satisfying to see your progress. Whenever I watch these kind of videos, I always see comments that say they aren't making any progress (compared to whoever posted the video, like the Pewdiepie one). Then they throw in all kinds of excuses like being untalented, don't have the time to dedicate each day, or no money. It's so sad because really, they are just excuses and not willing to either buckle down and just get after it, or even more, just enjoy the process of making art and not compare yourself to others.
Thanks Dennis! It's always good to hear from you! I agree, if you want to get something bad enough, you simply find a way. It can be tough to see others improve faster, but any improvement you make is progress! A large part of what I am trying to do is find the 'best way' to improve, but even using science to try and objectively find such a way, you can see the improvement in ability still takes time. There is no overnight progression hack, even using neuroscience. The best way is truly just constant forward pressure towards your goals, as you say and do ❤
One thing I've realised about learning colour is the value of practicing it from life rather than from photograph. You can do this digitally too with a portable tablet like an intuos and a laptop. And I definitely agree with you that practicing with paint has more benefit for learning than digital when it comes to colour, especially because of restrictions! You're able to work on what you need to without overloading your brain with too much to think about, getting difficulty just right. About the Loomis head, I have a combination method of the box and the loomis method. It's about using the outer circle and inner oval, and thinking about - How the oval moves, (It appears to get wider or thinner as the head is turning, although whats really happening is the circle stays the same size, it just turns away from us. It just makes it easier to visualise while you're sketching to think of it as stretching. - How the height of the oval on the head determines camera height. (Or height of the character) - How the tilt of the brow line determines the direction the viewer is looking. - visualising the planes of the face by drawing a box I've found that by using this as a system, and remembering it, you don't need to worry /too/ much about perspective. Until you get to extreme close ups or head tilts, usually I find it easy to estimate this! Thinking about the head (except the jaw) in three shapes, a ball, an oval and an enclosing box, helps massively for the curvature of the head, as well as perspective. One thing I'd recommend is drawing over a ball, or cutting the sides off of an apple. I detach the jaw from this because it makes it much easier to understand visually. Adding the jaw after the fact then becomes easier.
Thanks! Those are some really awesome tips! I have some little wooden primitive forms I paint from life sometimes but I haven't tried anything like a landscape on location yet 😅 I will at some point. That's actually a really cool way to think about the head. I will definitely try it. I like how you talk about using circles/ ellipses to position it. I think there definitely has to be consideration of curvature and perspective to build something that feels realistic and three-dimensional and your approach sounds like it accounts for this really well. Thanks so much for sharing your knowledge! 💖✨
Have you ever considered looking at the Frank Reilly method of drawing the head? The basic principles explore relationships between different features of the head. I've had the most success with this, but it does seem to be the most time consuming to learn and master. Loomis is great for a basic understanding of proportion, and with a good understanding of perspective is another favourite, but I love the Fox method you've shown here too.
I have not checked that out, no, but thanks for making me aware of it! I will definitely look into it and try and bring it into circulation to see what it does! ❤
Your improvement is very impressive. For color especially on a single layer you may want to look into the alla prima technique. It is tricky at first but when you learn it it speeds you up massively. Also for the form drawing technique its much easier in painting or digital as you have wider brushes to just lay the base for the forms. That said you can copy it a bit with a pencil by ignoring lines altogether and just draw with values.
It sounds hard, but seems like it would be a perfect thing to bring into the mix! I'll definitely try it! I can see how it would be a big help in forcing me to sort of one-shot the planes on the subject. Thanks for sharing! That's a really useful tip! 💖
Love your channel so much. Went through all your videos when I discovered you. I have been a long time user of spaced repetition and anki, but I never thought about using it for something like art skills!!! After only 10 hours of practice, I can see the benefits and I really like this approach. I wonder, maybe I missed or forgot you talking about it, but what's your theory or thoughts on how beneficial it would be to study for more than 1 hour a day?
To get more texture you need natural bristle brushes. Synthetic bristle brushes will create way smoother effect. You can also use synthetic for most of painting and then switching to natural one in last phase of painting to put texture toughtfully
Oh, that's not something I have tried yet! I only have synthetic brushes atm, but I'll get some natural ones and give that a try! I like the idea of switching brushes too! Haha the best ideas are always the simplest! Thanks for sharing this! ✨💖
Ive never heard of the 50% rule ! Your videos are so valauble i dont think ive heard anything new from youtube tutorials for years! I really wanna play around with rendering now.
Thanks! I can't take credit for it, I literally learned it from a Scott Robertson book, but the bigger reason behind it which I did not touch on here is that it models the exponential falloff of light. Value scales are not actually linear (10/20/30 etc) so when we make a 10 step linear value scale, it's actually wrong 😅 it should be exponential (100/50/25 etc) and then you find the midpoints between those values, and those values, always taking the 50% mark to make your 10 step scale. There are few other things to prevent over-rendering like value groups and exposing for one value range which I might touch on next time as I am just beginning to play with those now.
8:04 personally I feel like digital helped me understand certain things about color and lighting that I didn’t learn traditionally because I didn’t have to worry about the unpredictability of traditional paints. I already didn’t have a good grasp on values and lighting at the time but on top of that I didn’t realize how much my paints shifted once they dried and how much the value changed and so I had many failed paintings (especially in gouache) because my values were shifting as the paint dried and I thought I was crazy 😂 but I think they’re both equally valuable because lord knows I’m too slow to bust out a palette and paintbrush to draw from life while waiting at the dentist’s office! In my opinion the best thing to do is practice them simultaneously because traditional = more harmonious colors and digital = convenience/speed. I’ve learned from both!
That's some awesome advice! Haha I still haven't tried painting on location yet. Some day! I am finding that a lot of the ideas that I might 'learn digitally' I now want to test in traditional media and vice-versa. Thanks for sharing your experience, and I appreciate you watching! ✨
@@10.000hrs I feel that digital art is more correlated with the physical aspect of colour (understanding it with a bidirectional scattering distribution function) [especially working as a technical artist in Houdini] where you learn colour gamuts/colour spaces / how light effects objects ,, and traditional/ analog media is useful for the graphical aspect of colour (as noted in the video) due to the quantized nature of only having a handful of pigments which teaches you how to build a cohesive palette and the relationships between colours
Honestly brother I think you would benefit from doing some traditional figure drawings in pencil/from life and doing some more finished portraits in graphite or charcoal. I enjoy doing ink drawings and drawings from imagination, but I need those rendered/longer studies to help bring the ink and imagination drawings forward. You’ve developed some interesting skills with your method of study, but I think you’re going to start getting diminishing returns without doing more finished/rendered out drawings of figures and portraits. Figures and portraits are the most complex forms you could try to render, so you will learn a lot trying to accurately render them, and over time you will learn shortcuts to rendering them and those shortcuts often become a person’s style. All of the artists you mentioned in this video almost definitely went through a long stage of traditional learning, and then what you picked up from them were their shortcuts, you see?
Ah, I see! That's a really valid point and I'm grateful for you pointing it out. I'll try and bring in some more portrait and figure stuff because I might try a more finished portrait around the 400 hour mark. Part of the experiment currently is only producing more finished work (longer than 1 hour) every 200 hours to see the improvement that only shorter study times can incur on finished work, but I do agree that producing more finished works on a regular basis is an important factor, and I will eventually bring this in! Thanks for watching and sharing your excellent advice! I will try and give this a go! 💖
On drawing a sillhoutte and pre visualizing: while i am by no means a professional artist i want to say i made a lot of progress in that regard and have found myself comfortable drawing single characters (not full scenes only single subjects) in a satisfying manner lol. anyways i think it has A LOT to do with mileage. i want to say that there many things i feel like i havent changed up drastically over the years but the execution is so much different. sure rn i can explain and talk a lot more about arms for example but my rough idea of how to draw one isnt that much different than before. i think only by mileage you can gain a certain nuance in execution, mainly influenced by your subconcious. the more mileage the more comfort in your subject and the easier it becomes to " feel out" the shape and see it before actually drawing it. also there are definetly limits, i have found that my imagination and the figure "i see" arent always right. for example i imagine smth where i see y and x and when it comes to drawing it , y and x turn out to be things that just cant be logically combined in one drawing, usually its a perspective error. i think its important that when we talk about drawing from imagination to keep in mind that our imagination isnt as clear as we think and is very fallible. so there tend to be times where im drawing smth and will have to adjust to the existing lines, like you said. mostly i do think it is about just simply having drawn something so much with and without refrence that you hardly need any guide lines bc most shapes become instinctual. also i think the observation skill plays a big part in it bc it makes you more perceptive. when you observe a subject and break it down into simple shapes, you dont actually see the simple shapes, right? when it comes to drawing you can kinda apply this in reverse i think ? using what youve already put down and see the construction and predict the rest of it? i hope some of my rambling made sense to you and if you want you can ask me more question via discord , my username is dinaa5867. ill try my best to answer them
i also think that reagrding your rendering, the weak point isnt ultimately youre rendering and understanding of color and light but rather your shape design and brush work? if the drawing you made of the two fighting game (?) characters had better brushwork and some more pleasing shapes mixed in it could look pretty nice.
This is amazing, it's exactly the sort of insight I love reading, so thank you so much for sharing it! Everything you said makes a lot of sense, and seems to mirror what I am discovering at this lesser level, but being confirmed from a more developed standpoint, which is really interesting to read about. It genuinely does seem that at least for most people, there is no 'photographic' imagination, and that as you have suggested drawing in silhouettes may even be down to muscle memory, or an understanding of shapes that becomes instinctual. We might have to develop the specific from the vague, instead of jumping straight into the specific. This would explain why I can draw boxes and cylinders in silhouette, but not people made of boxes and cylinders in silhouette so easily. It's really fascinating to play with how this ability is developing in real time, so I'll definitely bear in mind the points you have raised and see if I also encounter them as I develop. Thanks again! ✨💕
I also appreciate you spotting this. I am juuuust starting to play with shapes, so it should be something I can try out when I repaint things again at hour 400!
Don't know if this will help you at all, but I've been practicing art by drawing people on the street corner every friday-saturday. Due to the party environment, I have to draw fast. That means I don't have time to construct as drunk people are impatient - I have to jump straight into the silhouette. I think it has improved my art, but I have a long way to go.
I explore a lot in drawing including structures and insects that might possibly be included on backgrounds depending on the scenes, this is a nice video anyway🍻👍👍
A few people have suggested drawing insects actually. I think it's covered in the Draw-A-Box course. I have something planned for next year which might be a good fit for trying this out.
Hello! Thank you for a new insight on your artistic journey. I'm a big fan of learning especially when it comes to art and I've been picking a lot from your videos. As in, I now, too, extensively study Tom Foxes book page by page and really interiorizing this stuff. Curiously enough, when you were asking in the video if there are any approaches to introduce the curvature to the box method< I remembered one method which does it quite literally - by starting the head construction from a cylinder! I was trying to find the precise scheme but either it's a very uncommon method or it was just one artist using it - to no avail. I understand the trickiness of such approach, though - as different areas of the head (e.g. forehead, brow, jaw) curve at different slopes - which Tom Fox shows, too - one wouldn't be able to hit them all with one cylinder. So it's probably safer to start with the box anyway and carve them out with the knowledge of which of the curves is the steepest. Apart from that I was curious if you're planning to expand your library of the books you base your cards on? Cause I remember my peers and I growing up on Gottfried Bammes anatomy book (maybe, he's just more popular in Eastern Europe regions, haha) but he provides some really good schemes that, while added on top of Tom Foxes structure, can enhance the understanding of these forms in space! Also Bammes provided a number of drawing exercises he practised with his own students with different types of materials to really solidify one's knowledge of the figure (ink, graphite stamps, even cut outs), so I thought you might be interested in them, too. I believe these books can be found online, as they're quite old, and I cannot say if they were translated in English fully (the original is in German), but for me he became practically the first association to learning the human (and animal) anatomy.
Awesome! I'm glad to hear it! I find the Tom Fox approaches really resonate with me. I have not heard of using a cylinder before, but I did actually give this a go today after you mentioning it, and I think it's actually pretty useful. I ended up just drawing half a cylinder to help establish a general curvature for the front of the skull. I also ended up drawing angled semi-circles at different points to represent the brow line and other key lines. It's definitely useful for considering how the curvature relates to the box volume. If you imagine 'carving' the box into a face, you actually have to remove quite a lot of material, so turning the front part into a cylinder is quite a fast way to handle that in one go and set a baseline for the curvature. I have not heard of Bammes before, but I do want to add some more books to the system next year at some point, because people like yourself have so kindly recommended new material to me! Thanks for sharing everything, it's extremely helpful to me and the other people who read this! 💖
I don't know if you've seen or heard of this, but I have seen some artists use a paper like shape ti draw both the head and hands in any perspectives was just thinking that it would be useful for you to know as its essentially killing two birds with one stone
Hmm, I think I've seem people draw like a paper mask for the face, but I've never seen it for the hands before! Sounds like it would be helpful though! Someone else suggested using cylinders and that was helpful for drawing heads and this sounds similar. I'll give this a go as well! Thanks for sharing! 💞
Hello,I am a little late but in your first 100 hours drawing video you said that you want recommendations on paper and tools. I can recomand you the ,,my tech ballpoint pen,0.7mm,it glides on the paper even if you hold it further apart and it has smooth shading.
💀 yeah I really need to try and do more than 1 hour a day at some point haha. For now though, it's interesting to see what can be achieved within just that small training window per day.
@@10.000hrs Depends really, if it's a live long thing, maybe taking your time is the fastest way forward. I wish I was doing 1 hour a day, do you have any tips on discipline/consistency, you seem to be good at that?
Its going to take a long time either way I guess 🥲 I use Google Calendar to plan time slots for things for general productivity which helps me sort of map my day out, and will stick to them. So if I give myself 1 hour to finish a task I literally set a timer for 1 hour and get it done within that time frame. It's like gamifying my chores haha. 1 hour can be broken up into 2x 30 minutes which is a pretty minimal ask really, so by keeping things around that time but being super focused you can actually get a lot done for art practice or anything else Also I remove all distractions for those small 30 minute windows. No phone etc nearby. I think once you start a habit forms and then it feels weird if you do not draw for 1 hour a day!
Hi question, you say you draw for 1 hour a day but does that include you reading these art books? Or is it reading the art books outside of your one hour a day? and One hour just for drawing/painting?
He pre makes the cards and uploads them to anki, making flags card that he rotates through for each hour so basically when he sits down to paint he just has to read that days flash card
Pretty much what the kind commenter replying said. The book pages are flash cards now, and each page acts like a digital journal page dedicated to that idea. Reading this page and my notes might take 5 minutes. This means whenever I see a card, I can continue where I left off or run a new experiment, ask a new question, try a new thing, and then record the results and what worked and what did not on the card itself. I do 30 minutes, then take a 10 minute break and then do another 30 minutes. I would like to make a bit more time to do some longer studies, but at the moment part of the experiment is deliberately abstaining from this, and only doing a longer piece every 200 hours to see how the skill improves, if at all.
@@10.000hrs I love how calculated you are with your practice. Drawing really is experimenting what clicks with you. Then doing it again once you update your process. I need to structure my practice like that. Because sometimes I'm like that, and other time I take breaks and forget my process
Not at the moment, no. I only do 1 hour a day based on what the cards tell me to do. I do think I would benefit more if I could do a little more per day, but it's not really possible at the moment. Also, I quite like the idea of doing just 1 hour a day for an initial chunk of time, and then committing more hours per day to see what difference that makes. It also means that everything up until this point demonstrates what just 1 hour a day can help you achieve, for people who are beginners and worry they cannot commit to more than this themselves.
I am a bit strange in that I don't really have one other than skill acquisition. If I can draw or paint stuff from my imagination, then that's all I want. I'd like the skill some of these artists have, but have no intention to become a concept artist or anything like that. I have ideas for things I might try and illustrate but really I am just fascinated by learning and how the brain figures out how to do things, and this has become a good platform for experimenting with that. I do this for other fields besides art as well, but do not document those experiments at this time.
For sure! I study other things besides art using this method. There are famous polymaths throughout history like Da Vinci. It's hard to define mastery though. For example, if you are a boxer, do you want to be world champion, win some local fight event, or just be really good and get enjoyment out of it? If mastery is being able to beat other people then maybe competing is essential. With art, is mastery working at a game studio? Or selling a painting for $1000? Or just being able to paint as good as you want? I currently aim for top 10% globally in most things, which can be a hard thing to track. Getting into the top 50% of humans in any subject is actually very very easy, but as you climb higher it gets super hard. Very few humans make it to the top 1% of anything. I'll make a video about it at some point because it's interesting. I would recommend checking out Tim Ferriss and specifically the book The 4 Hour Chef, although only the first little chapter is about this. The rest is a cook book 😅
Interesting and useful. But please, the music is very distracting, I want to hear your voice without having to filter out the music. Please drop the music! I want to hear the advice you give!
It does seem to be! I find that really stopping and slowing down and asking how I am going to represent something seems to be really helpful in learning to paint in particular. I also find myself looking at the work of others and trying to sort of reverse-engineer why they did things they way they did.
I personally hate using boxes to draw things Id rather just get an intuitive understanding of the perspective and it just feels like more work than just putting down the forms because you have to make a box then convert that box into a form.
also for the loomis method I really like constructing the head using the brow and frontal bone as a kind of anchor to build up the rest of the head around it also is pretty flexible if u want to stylize the face and anatomy
That's where I want to end up! I think at my skill level at least imagining the boxes is still a big help in considering the perspective. Using the frontal bone as an anchor sounds interesting. I'll definitely give it a go. There are so many variables that can tweaked on the face 🤯 I'll play with them as I learn more about specific facial anatomy. Thanks for the advice! It was really very helpful! 💖
@@10.000hrs I really respect your insight on learning art and the way you are going about doing it I feel like a ton of people think that art is just a talent you are born with but just like any other skill its just about dedication and smart practice so I really appreciate your videos keep up the good work man
Not that I have noticed yet, but I am using diluted ink, so perhaps that makes a difference. I'll keep an eye on it though! It might just be that the ink hasn't been in there long enough yet.
I think maybe for me the main struggle is motivation and the lack of a supportive community or learning partners who’d hold each other accountable kinds of plays a part in that..
This is a very very good point that I have not covered yet. Tim Ferriss called this 'stakes' and it is an essential component generally for this sort of learning, whatever form it ends up taking. Some people best achieve this via a community and accountability partners, while some use apps that will actually charge them money if they miss a day! Motivation is normally linked to 'pain avoidance', so you would feel more pain from letting down your friend, who you promised you would draw every day, than to skip the drawing. I think it depends on the individual. I have spoken to a few people here who suffer from things like anxiety, and they end up getting anxious about doing bad drawings, then anxious about not doing any drawings at all. I've never suffered from that, but I just tell myself that I have to get through the bad drawings to produce the good ones. You don't have to show anyone your work either, so there's nobody to judge you! It's another reason to just do 1 hour a day imo, but 1 hour a week is a good enough start. You don't have to paint a masterpiece in that hour... just try to learn something about drawing by actually drawing. Books are great for that, because each page in the book generally contains an idea you can test out for yourself in the hour. Hopefully there is something in there that can help you a little! I am in the process of trying to set up a Discord Server to help people train a little every day, so that might be something that interests you when it appears ❤
The one and only holy eternal God created us in His image, according to His likeness. But we sinned and fallen short of the glory of God and the wages of sin is death and the verdict for our sins when the day comes for us to be judged by God is hell but God in his great love sent His only begotten Son, Jesus. fully God and fully man. And live a perfect life and died for our sins on the cross and after three days being buried He rose from the dead. The death that you and I deserve, Jesus take so He can pay and atone for our sins and give us eternal life and we can be with Him. Just like how a person may be guilty but because someone paid for his fine he is free to go that's what Jesus did for us. What only we need to do is to repent of our sins (turning away from every sins everyday) and believe and put our trust and faith on Him and what He did for us that He already paid for our sins in the cross, not trusting in our good deeds or works for our salvation or to get to heaven but on what He did for us in the cross and and actively following Him every day and building a relationship with Him. "faith working through love" "faith that has action or works".......
My key learnings from you so far:
1. Mistakes are learning. Embrace the suck.
2. One perfect study might be luck so do 100+.
3. Repetition is results from reinforcement. Space it out to destress the suck.
"Embrace the suck." 😏
"Suck the suck."
Fu#@ the suck 😂😂
@@teaflavouredcoffee83 You can suck it. I'll just embrace it. 😜
That's a pretty good summary! I would add that the 'autopsy' of mistakes and successes helps guide the next attempt, so the suck should be gradually lessening over time, at least in that particular aspect of art.
But then you find a new part to suck at, and that sucks.
On the part about 'designing stuff' I think it's important to mention I've watched all your videos but I don't really know what you're into.
All I know is that you're super passionate about art theory / learning.
Even the artists you talk about liking is in the context of their technical skill not the subject / emotions of the piece.
(Well aware this might just be how you present the video, not reality)
I think that's an important observation, but I don't know what you should do with it lol
Whats the fantasy of the work you'll create at 10,000hrs?
Love when you drop your videos, always interesting! Bring on 400.
Thank you! That's a very good observation. I'm a bit of a weird anomaly in this respect because I don't really have a goal apart from the skill acquisition. Ideally I would be able to draw whatever I want from my imagination, and paint the same way.
I think this is a super power. You can take whatever stories or ideas you have and share them with other people. I think it's amazing that people like Kim Jung Gi could do this and bring their inner visual thoughts to reality for others to see.
I do have ideas for stories I would probably like to illustrate someday, but I don't have any plans to become a concept artists or anything like that.
I do agree though that having a passion project is a key aspect of this, and emotion is important in art.
I use this approach to learn other things as well like origami, and I think my passion project has just become understanding and exploring the way we learn in general 🤷♀️ I hope to make more videos about that in the future.
Glad you like the videos and I appreciate you following along! 💖
found your channel this week and immediately binge watched all your videos, theres so much to learn from them and is helping me a lot with my journey so thanks so much
Long term subscriber here. I watched one of your first videos about the ethos of neuroscience for drawing and was inspired, I've been drawing consistently for a year, and whilst my approach was quite contrary to yours, I want to thank you for the amazing advice and book recommendations.
My approach was finding a way to first be consistent, my biggest flaw, as many, is not committing to anything. I decided to instead focus on having fun. Drawing what stands out to me, not worrying about perspective, fundamentals, but instead finding the inspiration to draw every day.
Around the 1-2 month mark something mentally changed, instead of trying to find inspiration, the habit of drawing had become ingrained in me enough to get to the point where I wanted to draw regularly (albeit not everyday), and the enjoyment came from not the end result, but the process of drawing.
Instead of worrying about the fundamentals at first, I just drew, and in this first year of consistency I have found massive improvements in my understanding of a lot of things, just from doing. I know I will plateu soon, and this may be the year I begin taking a more structured and focus approached, mixing in concepts of perspective, anatomy and colour theory, especially with form and values. I think my biggest goal is values especially, I can pick any colours, if the values are good I'm a strong believer in the piece looking substantially better.
Thanks for the great videos :)
Glad I found my way back for this update, I enjoy your videos a lot. Commenting so hopefully youtube will recommend the next one
Congratulations on hitting the 300 hour mark! I'm always interested to watch your videos - your art is wonderful, and the thoughtful, kind approach to how you work is great to see.
Another commenter mentioned that you (at least what we see in these videos) don't necessarily engage emotionally or produce work that demonstrates things you like in terms of design or storytelling. Some of your work has a sci-fi touch to it, especially vehicles, and they're some of my favorites. I'd be very interesting in seeing you take some time to expand on that, and draw things that you really enjoy outside of the technical skill aspect.
Again, love the work, love the videos, and especially I love the passion you so obviously have!
One of the most informative art videos ever, amazing 👏🏻👏🏻
Thank you so much for posting this, it really helps my journey in art. It keeps me motivated knowing that my art can improve by practicing and learning. Keep posting!
Re: KJG, yeah, you're absolutely right! I've seen many interviews of him refuting that he has photographic memory. Don't get me wrong, his memory was great, due to 10s of thousands of hours of doing observational drawing, which in turn made his hand eye coordination and muscle memory second to none. As proof, I've seen him turn to talk to an audience member while he was simultaneously drawing.
And as you said, he considered the whole piece when he placed the next line. You will notice he draws each line very carefully and slowly--he doesn't draw each line fast at all! That's why his line work is more wobbly compared to a comic book inker. Ever notice how he jumps around from a totally different place on the drawing to way on the other side sometimes? He does this because his line work is the actual perspective grid hidden in the artwork. So if he needs to establish a vanishing point or another axis, he will do that with another image that contains such a point or angle needed. He truly was a genius. RIP Master Kim Jung Gi.
Oh, I have seen him do that yeah. Makes sense! He was the GOAT. I would love to know if he had lived to like 90 how much more he would have improved, or how his artwork would have changed. He seemed to still be very inquisitive and open to learning new things.
congratulations on 300h of practice!
perhaps others already told you so, but you having this channel helps others tremendously - I, for one, have motivation to practice more often just by witnessing your example
please, keep going
and may your journey be a joyful and fruitful one
Thank you friend! Same to you! It's equally motivating to know that it helps people, and I am grateful that others are inspired by the videos. I would be doing this anyway, I originally just decided to record it in case it helped someone haha ❤
so awesome. Thank you. For the 400 hour update and beyond, could you please turn down the background music behind the commentary by about 10-20%?
Yep! I have had a few people say the music is distracting and it's actually really hard to get the volume right because it seems to change between the editor, the final video, and the output device people are listening on, so the music might have to go! Appreciate the feedback! 💕
Regarding drawing and painting as decision-making - you might be interested in a detour into landscapes. Landscapes present a problem that can feel overwhelming from the lens of constructive form; while you can draw them in a technically accurate way, the approach that more people find suitable is to apply texture and value shapes to indicate the features of the landscape without following exact proportions, which exercises a different observational skillset.
I've been working through studies from Jack Hamm "Landscapes and Seascapes" and he has a great sense of how to introduce abstraction and stylization into simple graphite or ink sketches. As a result, when I return to characters I notice that I am making landscape rendering decisions, where it doesn't particularly matter if I use the real form if I make the composition pleasant.
I liked what you said about each line dictating the next. It's just like when we talk-sometimes we say the wrong word, but we recover gracefully and are still able to convey our thoughts without appearing as if we blundered our speech.
Dude you are really going to be a great artist. Or whatever you want to pursue. So much intention in your work it's amazing. I need to do what you do.
Thanks! I appreciate that! If you can set aside 1 hour a day for some focused and deliberate practice, then it's like a bucket filling up drip by drip. Eventually it overflows! I appreciate you watching and have every faith that you too can achieve whatever goals you have 👍 everything you will ever need is already in between your ears 😊
Damn...I learned so many things today that I never even thought to notice before ... thank you!
So cool to watch your progress and work. One of the most valuable things to see is how deliberate your practice is and how you make each hour count. If I doodle for 15 minutes per day, that’s good and better than nothing. But it’s not going to drive my skills forward like an hour of deliberate, targeted practice could. Your dedication is an inspiration! Thanks for sharing your journey with us!
Thanks! Anything is better than nothing for sure, but yes I believe that this sort of focused practice is key to improving at anything from ballet to painting portraits. You cannot actually do it for long though! That's why I break it up into 30 minute sessions with a break in between normally. Thanks for watching and sharing your thoughts ❤
Congratulations, keep the hard work! I really appreciate what you do.
Thank you! I really appreciate you taking the time to watch and comment. I'll keep trying hard! ❤✨
Inspirational work!
Again, i applaud you for reaching 300h and documenting a lot of it, it's extremely impressive and motivating and the stacks of paper show it. It's making me rethink how i study and wanting to create a more solid routine. You're definitely making progress and i'm blatantly stealing some of the exercises you've shown here and in your shorts!
While im nowhere near the level i want to be regarding heads, what has been working for me is drawing structurally in big forms like an egg for the cranium and merge it with half cylinder for the rest, not always explicitly drawing it out. And using the idea of the box to find key proportional landmarks in perspective, even if the other ones are obscured, as we are symmetrical. Examples being the corners of the eyesockets, cheekbones, chin, corner of the jaw etc, basically running an imaginary straight line to the other side even if it's obscured. While the surface stays curved. Then i carve into it creating planes. Or add another structure like a spherical form for the tooth area. Not always explicitly drawing out some of the steps but at least thinking about it. In that sense it's not much different than what loomis does in his book as it's all just treating it structurally.
Other times i draw a box and start extruding out some points sitting on the browridge and centerline, creating some curvature and then building up the cranium, carving planes, it's just connect the dots.
Not sure if it was KJG, Peter Han or someone else but they showed and mentioned something that always stuck with me, and you mentioned it too somewhat, It's that the first drawn line determines the perspective and relates everything else to it. Leaning more into that idea, while a line might be curved, it still has specific points on it that can be seen as the "front" or "side" if you extrude a straight line from it. So you can draw a curve and still use it as a perspective guideline reliably. Even dots, it's why i find using specifical anatomical landmarks useful.
Anyway, looking forward to the next hundred hours and videos, keep going!
Haha, please take whatever you want if it helps you learn and grow! I think your remark about drawing the 'unseen' side of the head is probably something I've not touched on that's actually really important for both the curve and box approaches, so thank you for bringing that up. I'm looking forward to trying all these great tips people mention here in the comments! ❤✨
Oh my god the art is starting to look good
Congratulations my man! It's so satisfying to see your progress. Whenever I watch these kind of videos, I always see comments that say they aren't making any progress (compared to whoever posted the video, like the Pewdiepie one). Then they throw in all kinds of excuses like being untalented, don't have the time to dedicate each day, or no money. It's so sad because really, they are just excuses and not willing to either buckle down and just get after it, or even more, just enjoy the process of making art and not compare yourself to others.
Thanks Dennis! It's always good to hear from you! I agree, if you want to get something bad enough, you simply find a way. It can be tough to see others improve faster, but any improvement you make is progress!
A large part of what I am trying to do is find the 'best way' to improve, but even using science to try and objectively find such a way, you can see the improvement in ability still takes time.
There is no overnight progression hack, even using neuroscience.
The best way is truly just constant forward pressure towards your goals, as you say and do ❤
One thing I've realised about learning colour is the value of practicing it from life rather than from photograph.
You can do this digitally too with a portable tablet like an intuos and a laptop.
And I definitely agree with you that practicing with paint has more benefit for learning than digital when it comes to colour, especially because of restrictions! You're able to work on what you need to without overloading your brain with too much to think about, getting difficulty just right.
About the Loomis head, I have a combination method of the box and the loomis method.
It's about using the outer circle and inner oval, and thinking about
- How the oval moves, (It appears to get wider or thinner as the head is turning, although whats really happening is the circle stays the same size, it just turns away from us. It just makes it easier to visualise while you're sketching to think of it as stretching.
- How the height of the oval on the head determines camera height. (Or height of the character)
- How the tilt of the brow line determines the direction the viewer is looking.
- visualising the planes of the face by drawing a box
I've found that by using this as a system, and remembering it, you don't need to worry /too/ much about perspective. Until you get to extreme close ups or head tilts, usually I find it easy to estimate this!
Thinking about the head (except the jaw) in three shapes, a ball, an oval and an enclosing box, helps massively for the curvature of the head, as well as perspective.
One thing I'd recommend is drawing over a ball, or cutting the sides off of an apple.
I detach the jaw from this because it makes it much easier to understand visually. Adding the jaw after the fact then becomes easier.
Thanks! Those are some really awesome tips! I have some little wooden primitive forms I paint from life sometimes but I haven't tried anything like a landscape on location yet 😅 I will at some point.
That's actually a really cool way to think about the head. I will definitely try it. I like how you talk about using circles/ ellipses to position it. I think there definitely has to be consideration of curvature and perspective to build something that feels realistic and three-dimensional and your approach sounds like it accounts for this really well.
Thanks so much for sharing your knowledge! 💖✨
Have you ever considered looking at the Frank Reilly method of drawing the head? The basic principles explore relationships between different features of the head. I've had the most success with this, but it does seem to be the most time consuming to learn and master.
Loomis is great for a basic understanding of proportion, and with a good understanding of perspective is another favourite, but I love the Fox method you've shown here too.
I have not checked that out, no, but thanks for making me aware of it! I will definitely look into it and try and bring it into circulation to see what it does! ❤
Congratulations on hour 300! Really stoked to see your journey and your consistency is quite motivating.
All the best to the next 100 hours!
Thanks friend! It's kind of you to take the time to comment ❤ I'll keep playing around and exploring and share where it leads!
Been waiting for this update! Lets gooo
Thanks for watching and following along! ❤✨😊
Your improvement is very impressive. For color especially on a single layer you may want to look into the alla prima technique. It is tricky at first but when you learn it it speeds you up massively. Also for the form drawing technique its much easier in painting or digital as you have wider brushes to just lay the base for the forms. That said you can copy it a bit with a pencil by ignoring lines altogether and just draw with values.
It sounds hard, but seems like it would be a perfect thing to bring into the mix! I'll definitely try it! I can see how it would be a big help in forcing me to sort of one-shot the planes on the subject.
Thanks for sharing! That's a really useful tip! 💖
@10.000hrs It is fairly tricky at the start but a lot faster in the long run.
Love your channel so much. Went through all your videos when I discovered you. I have been a long time user of spaced repetition and anki, but I never thought about using it for something like art skills!!! After only 10 hours of practice, I can see the benefits and I really like this approach. I wonder, maybe I missed or forgot you talking about it, but what's your theory or thoughts on how beneficial it would be to study for more than 1 hour a day?
To get more texture you need natural bristle brushes.
Synthetic bristle brushes will create way smoother effect.
You can also use synthetic for most of painting and then switching to natural one in last phase of painting to put texture toughtfully
Oh, that's not something I have tried yet! I only have synthetic brushes atm, but I'll get some natural ones and give that a try! I like the idea of switching brushes too!
Haha the best ideas are always the simplest! Thanks for sharing this! ✨💖
Ive never heard of the 50% rule ! Your videos are so valauble i dont think ive heard anything new from youtube tutorials for years! I really wanna play around with rendering now.
Thanks! I can't take credit for it, I literally learned it from a Scott Robertson book, but the bigger reason behind it which I did not touch on here is that it models the exponential falloff of light.
Value scales are not actually linear (10/20/30 etc) so when we make a 10 step linear value scale, it's actually wrong 😅 it should be exponential (100/50/25 etc) and then you find the midpoints between those values, and those values, always taking the 50% mark to make your 10 step scale.
There are few other things to prevent over-rendering like value groups and exposing for one value range which I might touch on next time as I am just beginning to play with those now.
Was waiting for this one
Sorry they take so long to make 😅 thanks for your patience and taking the time to watch!
8:04 personally I feel like digital helped me understand certain things about color and lighting that I didn’t learn traditionally because I didn’t have to worry about the unpredictability of traditional paints. I already didn’t have a good grasp on values and lighting at the time but on top of that I didn’t realize how much my paints shifted once they dried and how much the value changed and so I had many failed paintings (especially in gouache) because my values were shifting as the paint dried and I thought I was crazy 😂 but I think they’re both equally valuable because lord knows I’m too slow to bust out a palette and paintbrush to draw from life while waiting at the dentist’s office! In my opinion the best thing to do is practice them simultaneously because traditional = more harmonious colors and digital = convenience/speed. I’ve learned from both!
That's some awesome advice! Haha I still haven't tried painting on location yet. Some day! I am finding that a lot of the ideas that I might 'learn digitally' I now want to test in traditional media and vice-versa. Thanks for sharing your experience, and I appreciate you watching! ✨
@@10.000hrs I feel that digital art is more correlated with the physical aspect of colour (understanding it with a bidirectional scattering distribution function) [especially working as a technical artist in Houdini] where you learn colour gamuts/colour spaces / how light effects objects ,, and traditional/ analog media is useful for the graphical aspect of colour (as noted in the video) due to the quantized nature of only having a handful of pigments which teaches you how to build a cohesive palette and the relationships between colours
That would probably be an interesting thing to play around with. It's definitely worth studying the technical aspects of light and colour!
Honestly brother I think you would benefit from doing some traditional figure drawings in pencil/from life and doing some more finished portraits in graphite or charcoal. I enjoy doing ink drawings and drawings from imagination, but I need those rendered/longer studies to help bring the ink and imagination drawings forward.
You’ve developed some interesting skills with your method of study, but I think you’re going to start getting diminishing returns without doing more finished/rendered out drawings of figures and portraits. Figures and portraits are the most complex forms you could try to render, so you will learn a lot trying to accurately render them, and over time you will learn shortcuts to rendering them and those shortcuts often become a person’s style. All of the artists you mentioned in this video almost definitely went through a long stage of traditional learning, and then what you picked up from them were their shortcuts, you see?
Ah, I see! That's a really valid point and I'm grateful for you pointing it out.
I'll try and bring in some more portrait and figure stuff because I might try a more finished portrait around the 400 hour mark.
Part of the experiment currently is only producing more finished work (longer than 1 hour) every 200 hours to see the improvement that only shorter study times can incur on finished work, but I do agree that producing more finished works on a regular basis is an important factor, and I will eventually bring this in!
Thanks for watching and sharing your excellent advice! I will try and give this a go! 💖
Awesome video!!!
Thank you! 😊
On drawing a sillhoutte and pre visualizing: while i am by no means a professional artist i want to say i made a lot of progress in that regard and have found myself comfortable drawing single characters (not full scenes only single subjects) in a satisfying manner lol. anyways i think it has A LOT to do with mileage. i want to say that there many things i feel like i havent changed up drastically over the years but the execution is so much different. sure rn i can explain and talk a lot more about arms for example but my rough idea of how to draw one isnt that much different than before. i think only by mileage you can gain a certain nuance in execution, mainly influenced by your subconcious. the more mileage the more comfort in your subject and the easier it becomes to " feel out" the shape and see it before actually drawing it. also there are definetly limits, i have found that my imagination and the figure "i see" arent always right. for example i imagine smth where i see y and x and when it comes to drawing it , y and x turn out to be things that just cant be logically combined in one drawing, usually its a perspective error. i think its important that when we talk about drawing from imagination to keep in mind that our imagination isnt as clear as we think and is very fallible. so there tend to be times where im drawing smth and will have to adjust to the existing lines, like you said. mostly i do think it is about just simply having drawn something so much with and without refrence that you hardly need any guide lines bc most shapes become instinctual. also i think the observation skill plays a big part in it bc it makes you more perceptive. when you observe a subject and break it down into simple shapes, you dont actually see the simple shapes, right? when it comes to drawing you can kinda apply this in reverse i think ? using what youve already put down and see the construction and predict the rest of it? i hope some of my rambling made sense to you and if you want you can ask me more question via discord , my username is dinaa5867. ill try my best to answer them
i also think that reagrding your rendering, the weak point isnt ultimately youre rendering and understanding of color and light but rather your shape design and brush work? if the drawing you made of the two fighting game (?) characters had better brushwork and some more pleasing shapes mixed in it could look pretty nice.
This is amazing, it's exactly the sort of insight I love reading, so thank you so much for sharing it! Everything you said makes a lot of sense, and seems to mirror what I am discovering at this lesser level, but being confirmed from a more developed standpoint, which is really interesting to read about.
It genuinely does seem that at least for most people, there is no 'photographic' imagination, and that as you have suggested drawing in silhouettes may even be down to muscle memory, or an understanding of shapes that becomes instinctual. We might have to develop the specific from the vague, instead of jumping straight into the specific.
This would explain why I can draw boxes and cylinders in silhouette, but not people made of boxes and cylinders in silhouette so easily.
It's really fascinating to play with how this ability is developing in real time, so I'll definitely bear in mind the points you have raised and see if I also encounter them as I develop. Thanks again! ✨💕
I also appreciate you spotting this. I am juuuust starting to play with shapes, so it should be something I can try out when I repaint things again at hour 400!
Don't know if this will help you at all, but I've been practicing art by drawing people on the street corner every friday-saturday. Due to the party environment, I have to draw fast. That means I don't have time to construct as drunk people are impatient - I have to jump straight into the silhouette. I think it has improved my art, but I have a long way to go.
I explore a lot in drawing including structures and insects that might possibly be included on backgrounds depending on the scenes, this is a nice video anyway🍻👍👍
A few people have suggested drawing insects actually. I think it's covered in the Draw-A-Box course. I have something planned for next year which might be a good fit for trying this out.
I have a question when you work on a concept, do you practice using the example of the page or others?
thank you
You're welcome friend! Thanks for watching!
Hello! Thank you for a new insight on your artistic journey. I'm a big fan of learning especially when it comes to art and I've been picking a lot from your videos. As in, I now, too, extensively study Tom Foxes book page by page and really interiorizing this stuff.
Curiously enough, when you were asking in the video if there are any approaches to introduce the curvature to the box method< I remembered one method which does it quite literally - by starting the head construction from a cylinder! I was trying to find the precise scheme but either it's a very uncommon method or it was just one artist using it - to no avail. I understand the trickiness of such approach, though - as different areas of the head (e.g. forehead, brow, jaw) curve at different slopes - which Tom Fox shows, too - one wouldn't be able to hit them all with one cylinder. So it's probably safer to start with the box anyway and carve them out with the knowledge of which of the curves is the steepest.
Apart from that I was curious if you're planning to expand your library of the books you base your cards on? Cause I remember my peers and I growing up on Gottfried Bammes anatomy book (maybe, he's just more popular in Eastern Europe regions, haha) but he provides some really good schemes that, while added on top of Tom Foxes structure, can enhance the understanding of these forms in space! Also Bammes provided a number of drawing exercises he practised with his own students with different types of materials to really solidify one's knowledge of the figure (ink, graphite stamps, even cut outs), so I thought you might be interested in them, too. I believe these books can be found online, as they're quite old, and I cannot say if they were translated in English fully (the original is in German), but for me he became practically the first association to learning the human (and animal) anatomy.
Awesome! I'm glad to hear it! I find the Tom Fox approaches really resonate with me.
I have not heard of using a cylinder before, but I did actually give this a go today after you mentioning it, and I think it's actually pretty useful. I ended up just drawing half a cylinder to help establish a general curvature for the front of the skull.
I also ended up drawing angled semi-circles at different points to represent the brow line and other key lines. It's definitely useful for considering how the curvature relates to the box volume.
If you imagine 'carving' the box into a face, you actually have to remove quite a lot of material, so turning the front part into a cylinder is quite a fast way to handle that in one go and set a baseline for the curvature.
I have not heard of Bammes before, but I do want to add some more books to the system next year at some point, because people like yourself have so kindly recommended new material to me!
Thanks for sharing everything, it's extremely helpful to me and the other people who read this! 💖
Interesting video!
Thank you for watching friend!
I don't know if you've seen or heard of this, but I have seen some artists use a paper like shape ti draw both the head and hands in any perspectives was just thinking that it would be useful for you to know as its essentially killing two birds with one stone
Hmm, I think I've seem people draw like a paper mask for the face, but I've never seen it for the hands before! Sounds like it would be helpful though! Someone else suggested using cylinders and that was helpful for drawing heads and this sounds similar. I'll give this a go as well!
Thanks for sharing! 💞
Hello,I am a little late but in your first 100 hours drawing video you said that you want recommendations on paper and tools.
I can recomand you the ,,my tech ballpoint pen,0.7mm,it glides on the paper even if you hold it further apart and it has smooth shading.
Nice! Thanks for the tip! I'll try and get one and give it a go. I'm always interested in trying new tools out!
Nice! only 25 years to go...
💀 yeah I really need to try and do more than 1 hour a day at some point haha. For now though, it's interesting to see what can be achieved within just that small training window per day.
@@10.000hrs Depends really, if it's a live long thing, maybe taking your time is the fastest way forward. I wish I was doing 1 hour a day, do you have any tips on discipline/consistency, you seem to be good at that?
Its going to take a long time either way I guess 🥲
I use Google Calendar to plan time slots for things for general productivity which helps me sort of map my day out, and will stick to them. So if I give myself 1 hour to finish a task I literally set a timer for 1 hour and get it done within that time frame. It's like gamifying my chores haha.
1 hour can be broken up into 2x 30 minutes which is a pretty minimal ask really, so by keeping things around that time but being super focused you can actually get a lot done for art practice or anything else
Also I remove all distractions for those small 30 minute windows. No phone etc nearby.
I think once you start a habit forms and then it feels weird if you do not draw for 1 hour a day!
Hi question, you say you draw for 1 hour a day but does that include you reading these art books? Or is it reading the art books outside of your one hour a day? and One hour just for drawing/painting?
He pre makes the cards and uploads them to anki, making flags card that he rotates through for each hour so basically when he sits down to paint he just has to read that days flash card
Pretty much what the kind commenter replying said.
The book pages are flash cards now, and each page acts like a digital journal page dedicated to that idea. Reading this page and my notes might take 5 minutes.
This means whenever I see a card, I can continue where I left off or run a new experiment, ask a new question, try a new thing, and then record the results and what worked and what did not on the card itself.
I do 30 minutes, then take a 10 minute break and then do another 30 minutes.
I would like to make a bit more time to do some longer studies, but at the moment part of the experiment is deliberately abstaining from this, and only doing a longer piece every 200 hours to see how the skill improves, if at all.
@@10.000hrs I love how calculated you are with your practice. Drawing really is experimenting what clicks with you. Then doing it again once you update your process. I need to structure my practice like that. Because sometimes I'm like that, and other time I take breaks and forget my process
I'm sorry if this has already been answered, but do you draw/paint (not practice) outside this challenge? Thanks!
Not at the moment, no. I only do 1 hour a day based on what the cards tell me to do. I do think I would benefit more if I could do a little more per day, but it's not really possible at the moment. Also, I quite like the idea of doing just 1 hour a day for an initial chunk of time, and then committing more hours per day to see what difference that makes.
It also means that everything up until this point demonstrates what just 1 hour a day can help you achieve, for people who are beginners and worry they cannot commit to more than this themselves.
What is the dream art you want to make? Technique is great and all, but it's nothing without a vision.
I disagree , you can definitely derive value from the process of learning and making things even without tangible returns
(ie having fun)
I am a bit strange in that I don't really have one other than skill acquisition. If I can draw or paint stuff from my imagination, then that's all I want. I'd like the skill some of these artists have, but have no intention to become a concept artist or anything like that. I have ideas for things I might try and illustrate but really I am just fascinated by learning and how the brain figures out how to do things, and this has become a good platform for experimenting with that.
I do this for other fields besides art as well, but do not document those experiments at this time.
@@10.000hrs Do you believe one can reach mastery/exellence in various fields? I'm obsessed with this concept, and it's what I'm aiming for.
For sure! I study other things besides art using this method. There are famous polymaths throughout history like Da Vinci. It's hard to define mastery though.
For example, if you are a boxer, do you want to be world champion, win some local fight event, or just be really good and get enjoyment out of it? If mastery is being able to beat other people then maybe competing is essential.
With art, is mastery working at a game studio? Or selling a painting for $1000? Or just being able to paint as good as you want?
I currently aim for top 10% globally in most things, which can be a hard thing to track. Getting into the top 50% of humans in any subject is actually very very easy, but as you climb higher it gets super hard. Very few humans make it to the top 1% of anything. I'll make a video about it at some point because it's interesting. I would recommend checking out Tim Ferriss and specifically the book The 4 Hour Chef, although only the first little chapter is about this. The rest is a cook book 😅
"Making mistakes is learning. Period."
Yep. Never fear making them, they are helping you!
Interesting and useful. But please, the music is very distracting, I want to hear your voice without having to filter out the music. Please drop the music! I want to hear the advice you give!
Drawing is a series of OODA loops
It does seem to be! I find that really stopping and slowing down and asking how I am going to represent something seems to be really helpful in learning to paint in particular. I also find myself looking at the work of others and trying to sort of reverse-engineer why they did things they way they did.
I personally hate using boxes to draw things Id rather just get an intuitive understanding of the perspective and it just feels like more work than just putting down the forms because you have to make a box then convert that box into a form.
also for the loomis method I really like constructing the head using the brow and frontal bone as a kind of anchor to build up the rest of the head around it also is pretty flexible if u want to stylize the face and anatomy
That's where I want to end up! I think at my skill level at least imagining the boxes is still a big help in considering the perspective.
Using the frontal bone as an anchor sounds interesting. I'll definitely give it a go. There are so many variables that can tweaked on the face 🤯 I'll play with them as I learn more about specific facial anatomy.
Thanks for the advice! It was really very helpful! 💖
@@10.000hrs I really respect your insight on learning art and the way you are going about doing it I feel like a ton of people think that art is just a talent you are born with but just like any other skill its just about dedication and smart practice so I really appreciate your videos keep up the good work man
hi
Hi! Have some cake! 🎂
yooooooo
🎉
do your aquash pens ever clog up? if mine sit around for too long they clog and i havent figured out how to fix that.
Not that I have noticed yet, but I am using diluted ink, so perhaps that makes a difference. I'll keep an eye on it though! It might just be that the ink hasn't been in there long enough yet.
yahoo
I think maybe for me the main struggle is motivation and the lack of a supportive community or learning partners who’d hold each other accountable kinds of plays a part in that..
This is a very very good point that I have not covered yet. Tim Ferriss called this 'stakes' and it is an essential component generally for this sort of learning, whatever form it ends up taking. Some people best achieve this via a community and accountability partners, while some use apps that will actually charge them money if they miss a day!
Motivation is normally linked to 'pain avoidance', so you would feel more pain from letting down your friend, who you promised you would draw every day, than to skip the drawing.
I think it depends on the individual. I have spoken to a few people here who suffer from things like anxiety, and they end up getting anxious about doing bad drawings, then anxious about not doing any drawings at all.
I've never suffered from that, but I just tell myself that I have to get through the bad drawings to produce the good ones. You don't have to show anyone your work either, so there's nobody to judge you!
It's another reason to just do 1 hour a day imo, but 1 hour a week is a good enough start. You don't have to paint a masterpiece in that hour... just try to learn something about drawing by actually drawing. Books are great for that, because each page in the book generally contains an idea you can test out for yourself in the hour.
Hopefully there is something in there that can help you a little! I am in the process of trying to set up a Discord Server to help people train a little every day, so that might be something that interests you when it appears ❤
The one and only holy eternal God created us in His image, according to His likeness. But we sinned and fallen short of the glory of God and the wages of sin is death and the verdict for our sins when the day comes for us to be judged by God is hell but God in his great love sent His only begotten Son, Jesus. fully God and fully man. And live a perfect life and died for our sins on the cross and after three days being buried He rose from the dead. The death that you and I deserve, Jesus take so He can pay and atone for our sins and give us eternal life and we can be with Him. Just like how a person may be guilty but because someone paid for his fine he is free to go that's what Jesus did for us. What only we need to do is to repent of our sins (turning away from every sins everyday) and believe and put our trust and faith on Him and what He did for us that He already paid for our sins in the cross, not trusting in our good deeds or works for our salvation or to get to heaven but on what He did for us in the cross and and actively following Him every day and building a relationship with Him. "faith working through love" "faith that has action or works".......