Using Neuroscience to Draw for 10,000 Hours --- 100 hour review

Summary

The video script discusses the journey and learnings of an artist who has dedicated 100 hours to painting and drawing, focusing on the principles of form and technical skill. The artist emphasizes the importance of understanding and applying XYZ space for 3D perspective, using overlap and scale to convey depth, and the value of simplification in art. The script also touches on the evolution of pen grip technique, the interplay between pen and paper, and the artist's self-awareness in training. The artist shares insights on how to combine different focuses during practice and the concept of 'noob gains,' highlighting the progress made in the initial phase of learning a new skill. The video aims to inspire viewers with the artist's meta-learning approach to mastering the craft.

Takeaways

• 🎨 **XYZ Space Understanding**: Every drawing should be considered in 3D perspective, with lines aimed at imaginary points in space, treating the paper as a 3D volume.
• 🧐 **Anatomy and Perspective**: When drawing, consider the rotation and tilt of the subject to determine which sides are visible, enhancing the understanding of form.
• 📏 **Sectional Planes**: Break objects down into three sectional planes and connect their silhouettes to create convincing 3D forms.
• 👁️ **Overlap & Scale**: Indicating overlap in drawings tricks the brain into perceiving 3D space, which is useful for conveying form.
• 📉 **Simplification**: Including less detail in drawings can lead to more interesting art, as it allows the viewer's brain to fill in the gaps.
• 🖋️ **Pen Grip Adjustment**: Experimenting with different pen grips can influence line control and the overall quality of the drawing.
• ✍️ **Line Quality**: Holding the pen further up the barrel can lead to a more fluid and less precise line, which can be desirable in certain contexts.
• 📄 **Paper & Pen Combos**: The choice of paper and pen can significantly affect the outcome of a drawing, and it's worth experimenting to find the best combination.
• 🔍 **Technical Skill Evolution**: Over the first 100 hours of practice, the artist noticed improvements in their technical skills with drawing tools.
• 🤹 **Multi-Focus Training**: As skills progress, it becomes possible to combine multiple focuses during training sessions, rather than concentrating on a single aspect.
• 🚀 **Noob Gains**: Recognize the rapid progress made during the initial phase of learning a new skill and prepare for the need to work harder to continue growing.
• 📚 **Meta-Learning**: The importance of self-awareness during the learning process, documenting personal progress and understanding how one learns best.

Q & A

What is the main focus of the channel mentioned in the transcript?

The channel is dedicated to helping others improve as artists in the most efficient manner possible, by leveraging the research of neuroscience, meta-learning, and autodidacticism.

What does the speaker refer to as 'XYZ Space' in the context of drawing?

XYZ Space refers to the concept of drawing in 3D perspective, where every line is aimed at an imaginary point in space, and the paper is considered as a 3D volume being drawn into, similar to how a sculptor works.

What is the significance of considering the number of visible sides when drawing objects or forms?

Considering the number of visible sides helps in understanding the rotation and perspective of the object, allowing the artist to determine what parts of the object are visible from a given viewpoint.

How does the concept of 'Overlap' contribute to the perception of 3D space in a drawing?

Overlap contributes to the perception of 3D space by visually indicating that one object is in front of another, which the brain interprets as a depth cue, thus enhancing the 3D effect in the drawing.

What is the role of 'Simplification' in creating more engaging art?

Simplification helps in creating more engaging art by not including every detail, allowing the viewer's brain to fill in the blanks and engage more with the piece. It turns the drawing into a suggestion of the form rather than an exact depiction.

How does the speaker's pen grip affect their line control in drawing?

The speaker's pen grip, being close to the business end, allows for very precise line control. However, they have been experimenting with holding the pen further up the barrel to achieve a more fluid and less precise line quality.

What is the issue with using ballpoint pens on layout paper, as mentioned by the speaker?

Ballpoint pens can skid on the surface of layout paper, which is not ideal for drawing. Additionally, they can drop a large amount of ink at random moments, potentially ruining a line.

Why did the speaker switch to a fine liner pen towards the end of their first 100 hours of drawing?

The speaker switched to a fine liner pen because it provided better balance between precision and fluidity, especially when holding the pen further up the barrel, and it skidded less compared to ballpoint pens on smooth papers.

What is the importance of high-quality paper and pens in the drawing process?

High-quality paper and pens are important for achieving better results in a drawing. They allow for better control, less ink skidding, and more precise lines, which can significantly improve the final artwork.

What does the speaker mean by 'spinning multiple plates' in the context of drawing?

Spinning multiple plates refers to the ability to focus on several aspects of drawing simultaneously, such as anatomy, perspective, and line quality, without having to consciously worry about each one. It signifies a higher level of skill and understanding where various drawing principles become second nature.

What are 'noob gains' and why are they significant for someone starting a new skill or learning undertaking?

'Noob gains' refer to the rapid progress made in the early phase of learning a new skill. They are significant because they represent the initial leaps in knowledge and understanding that occur as a beginner, setting a foundation for further learning and development.

What is the speaker's approach to learning and improving their drawing skills?

The speaker focuses on meta-learning, which involves understanding how they personally learn, and then creating experiments to explore what works and what doesn't. They concentrate on abstract, generic principles and qualities rather than specific techniques, aiming to build a strong foundation that can be applied to all future art.

Outlines

00:00

🎨 Artistic Improvement and 100 Hours of Practice

The speaker expresses gratitude to subscribers and outlines the channel's mission to enhance artistic skills efficiently through neuroscience, meta-learning, and self-education. Although the next video was supposed to discuss books, the speaker shares insights from their first 100 hours of painting and drawing, focusing on drawing due to the majority of time spent on it. The practice sessions were structured using Anki cards, each lasting an hour, targeting specific skill areas: form and technical skill. The importance of understanding and applying XYZ space in drawing is emphasized, along with the concept of viewing every line as existing in a 3D perspective. The speaker discusses the lessons learned from books by Scott Robertson and Tom Fox, and how this approach aids in drawing anatomy and managing perspective. The video concludes with a teaser for a future video on art books.

05:01

📚 Learning Techniques and Tools for Drawing

The speaker discusses the evolution of their pen grip and its impact on line control, drawing inspiration from Kim Jung Gi's technique. They describe an experiment with holding the pen further up the barrel for a more fluid line quality. The importance of choosing the right pen and paper combination is highlighted, with experiences using ballpoint pens on layout paper and a switch to fine liners. The speaker also shares their use of other tools like the Pilot Gtec pen and the Pentel Fude brush pen, and invites recommendations for drawing tools and paper brands. A key lesson shared is the ability to combine multiple focuses during practice sessions, leading to a more integrated approach to drawing. The concept of 'noob gains' is introduced, referring to the rapid progress made when starting a new skill. The speaker emphasizes the importance of self-awareness and documenting personal learning processes, as well as focusing on broad, generic qualities applicable to all future art endeavors.

10:03

🔍 Reflecting on Progress and Future Plans

In the concluding paragraph, the speaker thanks the viewers and provides a brief overview of the content covered. They mention the intention to release a future video discussing art books and express hope that the current video provided useful insights. The speaker encourages a foundational approach to learning, suggesting that mastering basic principles before moving on to specifics is beneficial for long-term artistic growth.

Keywords

💡Neuroscience

Neuroscience is the scientific study of the nervous system, which includes the brain and its functions. In the context of the video, the speaker uses insights from neuroscience to inform their approach to learning and improving as an artist. This is part of the channel's mission to help others enhance their artistic skills efficiently.

💡Meta-learning

Meta-learning refers to the process of understanding one's own learning style and how one learns best. The video emphasizes the importance of being self-aware and understanding one's learning process to create effective learning strategies. It is a core part of the channel's philosophy to leverage meta-learning for artistic improvement.

💡Autodidacticism

Autodidacticism is the ability to self-educate, to learn things independently without formal instruction. The channel is dedicated to helping artists improve by leveraging this concept, encouraging viewers to take charge of their own learning process and use resources like books and online content to educate themselves.

💡XYZ Space

XYZ Space is a concept used in the video to describe the three-dimensional perspective that artists should consider when drawing. It is a fundamental principle from the books 'How to Draw' by Scott Robertson and 'Drawing Form and Pose' by Tom Fox, which the speaker has been using. The idea is that every line should aim towards a point in space, treating the paper as a 3D volume.

💡Anatomy

Anatomy, in the context of the video, refers to the study and depiction of the human body's structure. The speaker discusses how understanding the 3D form of the body parts is crucial for accurate and convincing drawings. It is a significant part of the artist's learning process as they progress through their 100 hours of practice.

💡Overlap

Overlap is a drawing technique where one object is drawn in front of another to create a sense of depth and three-dimensionality. The speaker mentions that overlap is almost like a 'drawing hack' because it tricks the brain into perceiving depth. It is a useful technique but should be used judiciously to avoid confusing the viewer.

💡Simplification

Simplification in art refers to the process of reducing the amount of detail in a drawing to enhance its impact and allow the viewer's imagination to fill in the gaps. The speaker discusses the importance of not including every detail in a drawing, which can make the artwork more interesting and engaging. It is a concept closely tied to the artist's evolving style and approach to drawing.

💡Pen Grip

Pen grip is the manner in which an artist holds their drawing instrument. The video discusses how the speaker's pen grip has evolved over time to allow for a more fluid and less precise line quality, which they find preferable. It is an example of how an artist's technique can change as they experiment and discover what works best for them.

💡Paper & Pen Combos

This refers to the specific combination of paper and pen that an artist uses, which can significantly affect the outcome of their drawings. The speaker shares their experiences with different types of pens and papers, such as ballpoint pens on layout paper and fine liners, and how these combinations can influence line quality and control.

💡Technical Skill

Technical skill in the context of the video pertains to the actual ability to use drawing tools effectively. The speaker reflects on their progress in handling pens and pencils, and how their technique has evolved over the 100 hours of practice. It is a critical aspect of the artist's development and is continually refined through practice.

💡Self-awareness

Self-awareness is the speaker's ability to recognize and understand their own learning process and how it changes over time. The video emphasizes the importance of documenting one's progress and being conscious of how one's focus and abilities shift. It is a key component of meta-learning and is essential for creating effective learning strategies.

💡N00b Gains

N00b Gains refers to the rapid progress made by beginners when starting a new skill or learning endeavor. The speaker discusses how they have experienced significant improvement in their understanding and skills during the initial phase of their artistic journey. It highlights the concept that early learning stages often come with steep learning curves and rapid advancements.

Highlights

The channel focuses on improving artistic skills efficiently through neuroscience, meta-learning, and autodidacticism.

The speaker has passed 100 hours of painting and drawing, sharing the experience and lessons learned.

All drawing hours were spent using Anki decks, with each session lasting 1 hour.

The importance of drawing in XYZ space for 3D perspective is emphasized.

Drawing should consider the rotation and perspective of objects to determine visible sides.

The technique of breaking objects down into 3 sectional planes for 3D drawing is introduced.

Overlap and scale are used as a drawing hack to create a sense of 3D space.

Simplification in drawing is crucial, leaving room for the viewer's brain to fill in details.

Pen grip adjustments can affect line control and the overall quality of the drawing.

Different pen and paper combinations affect the outcome of the drawing.

The transition from ballpoint pen to fine liner for better line quality when holding the pen further up.

The use of various drawing tools like the Pilot Gtec pen and Pentel Fude brush pen.

Combining focus areas during drawing sessions as skill progresses, akin to a football player's ability to multitask.

The concept of 'noob gains', where beginners make the most progress in the early phase of learning.

The importance of self-awareness and documenting one's learning process in meta-learning.

Focusing on abstract, generic principles and qualities before moving on to specific techniques.

The speaker's anticipation of future progress and the evolution of the 'spinning multiple plates' concept.

Transcripts

Time for another video, and before we get started, a big thank you and shout out once

again to everyone who has liked and subscribed so far.

This is a channel dedicated to helping others improve as artists, in the most efficient

manner possible, by leveraging the research of neuroscience, meta-learning, and autodidacticism.

I know I said my next video would be about the books I use, and a deep dive into them,

and that video is underway, but in the meantime, I recently passed my first 100 hours of painting

and drawing which I share here on YouTube as daily shorts, and so I thought it might

be good to produce a bit of a shorter video to briefly show you what 100 hours of drawing

and painting physically looks like, as well as the key lessons I have learned so far.

This video won’t be covering painting, only drawing, and the reason for that is just that

I have spent the vast majority of this first 100 hours drawing, and so while I can think

of paint related lessons I have learned, I want to wait until I have a bit more experience

before sharing those.

The next thing to know is that all 100 of these hours were produced working from cards

in the anki decks I have made, and each session was 1 hour in length.

I’ll break this down as they apply to the skill pillars I work when drawing at the moment,

which are form, and technical skill.

XYZ Space: This is something that the main 2 books I

have been using really drive home.

That would be How to Draw by Scott Robertson, and Drawing Form and Pose by Tom Fox.

Everything we draw must be in XYZ space, meaning it works in 3d perspective.

No drawing flat shapes here.

Every line you draw should be aimed at an imaginary point in space, and you think of

the paper as a 3D volume you are drawing into, like a sculptor.

The biggest lesson here, particularly when working anatomy, is that if everything fits

inside a box, which it does, you will only ever be able to see 1 to 3 sides of it.

For example, if the box is head on, we see it as a square.

If we rotate EITHER the box, or our viewpoint relative to it, we might now see two sides,

each receding into perspective.

Change it again, and we can now see three sides, but we can never see MORE than 3.

This helps us, because whenever we draw, say a head, we can consider before drawing it

how far rotated it is, and whatever we are above or below it, as well as whether or not

it is tilted relative to us.

Can we see under the chin?

Well then we will not be drawing the top of the head.

When drawing from life, you can quickly check the head as if it were a cube, and figure

out what planes are visible.

This little consideration of eye level and perspective alignment is very much at the

forefront of my attention when drawing for these first 100 hours, and I see no sign of

that ever changing.

To make it easier to learn, I have been drawing shapes in 2D, then aligning them in 3D, so

that we can break an object down into 3 sectional planes.

We then connect up the silhouette of each, and we have a convincing object in 3D.

This works for anything you could ever want to draw, especially from imagination, and

there is no shame in planning a drawing this way to help you wrap your brain around how

the form of something works.

In fact, I suspect it is the key to being able to remember how to draw things from imagination.

Overlap & Scale: Another thing that really is almost like a

drawing hack, should any exist, is simply overlapping things.

By just drawing one object behind another, the brain just accepts that this must be 3D

space, and so indicating overlap in your drawings is very useful, and should be done wherever

it is appropriate.

I will even now sometimes change a referenced pose slightly to make the overlap more apparent.

Overlap can be with big forms, like arms in front of legs, but also in your silhouette,

like the way one muscle is sitting in front of another, and how they wrap together under

the skin.

It;s hard to indicate with line and no value, but a little nicked line of overlap tricks

the brain into understanding it.

Overlap can sometimes be confusing though, so it is like a secret spice, to be used in

the right context, where it will help, and not hinder understanding of form for the viewer.

Simplification: Finally, I can see the importance of not including

too much information in your drawings.

We do not need to see every muscle or mechanical detail, and indeed the art is more interesting

when you leave detail out for people;s brains to fill in the blanks themselves.

I’ll talk more about this in a future video, because I now believe there is a whole sliding

scale of simplification, and a lot of your drawing style will be dictated by the level

of simplicity your drawings express.

This does not mean we do not understand the form, and all it;s exquisite detail, just

that we understand it, and choose to simplify it, expressing it in far less detailed terms

when drawing., This makes it more of a suggestion of the form than an accurate depiction of

the form itself.

Go look at your favourite paintings or drawings, and you will suddenly be awakened to how prolifically

this is used in good art.

Let’s talk about the technical skill pillar, and how my actual skill with drawing tools

has evolved in these first 100 hours.

Pen Grip: When I write, I hold a pen wrong.

Using that term annoys me, as there is no correct way to hold a pen, you would assume,

but I remember in my early school years the teachers telling me off because I held the

pen like this:

They used to put a triangular sleeve over the pen to make me hold it more like this:

But eventually one teacher said ‘you know what bro?

you do you’, or words to that effect, and so that is how I write.

The issue is, that is also how I draw.

When you grip the pen that close to the business end, it means your line control will be very

precise, but sometimes that precision does not help the drawing.

As a result, I have been trying to hold the pencil or pen in the manner I normally do

finger wise, but further up the barrel of the pen.

This means I do not have as much control over the lines, although it is getting better.

I noticed that this is something Kim Jung Gi does, which is why I thought I would try

it, and so far it;s been an interesting experiment.

It definitely adds a slightly shaky, more fluid quality to the linework, and I think

I prefer that over trying to be super precise and making sure every line is executed perfectly.

One other thing it highlighted though, was how different pens and paper work together:

Paper & Pen Combos I like to draw with a ballpoint pen, and for

most of these 100 hours, I have been using different brands of ballpoint pen on layout

paper.

Layout paper is cheap, low quality paper, and it’s slightly see-through.

It’s designed for rapid sketching, and then overlaying a fresh sheet on top to redefine

the sketch underneath.

The problem with ballpoint is that it can skid on the surface, which is not always great

for the drawing.

Also, the ballpoint pens can drop a big glob of ink at random moments, and ruin a line.

Scott Robertson mentions this issue in his How to Draw book, and so copying him, I use

a tissue or cotton rag to wipe the nib of the pen occasionally.

Closer to the end of these first 100 hours, I switched to a fine liner, having just tried

one because it was to hand, and I preferred the way it works.

You see, holding the pen further up the barrel makes it skid MORE because I have less control,

and it;s too much with ballpoint, at least on smooth papers, but the fineliner must have

slightly more friction, because it skids less, and strikes a better balance between precision

and fluidity in line quality when holding the pen further up.

If I switched to a toothier paper, I expect the ballpoint pen would work better, so I

will experiment with that at some point in the future.

I burned through 2 A4 sizes layout pads, one side only, in the first 100 hours, as well

as getting most of the way through an A4 sized regular paper drawing pad.

Having high quality paper and pens is important for doing a good job, and I feel it;s worth

experimenting with a variety to see what you have the best results with.

Other tools I have used include this pilot Gtec pen, which creates a very precise line,

but it’s also very thin, and makes for quite weak lines, as well as this pentel fude brush

pen, which you have to squeeze slightly to load with a set amount of ink.

Squeeze it a lot, and it floods the paper, or you can let it dry out to produce very

dry brush style marks.

If you have any drawing tools or paper brands you recommend I’d love to hear them, so

please let me know in the comments.

There is one more interesting lesson I have learned that is outside of the skill pillars.

It really relates to my own self-awareness and how I choose to train every day.

I typically train for 1 hour a day, and each session focuses on usually a single idea as

defined by the card I am studying.

I would typically train whatever quality a card would emphasize, such as simplicity,

or XYZ space.

However, I have recently found good opportunities to combine my focus.

This is something that only really came into my awareness during the latter part of these

100 hours, and so I am assuming my brain has figured out how to spin multiple plates at

once.

What do I mean by that?

Well, you may be familiar with my Ronaldo analogy, where he is so good at dribbling

a football, that during a game, he can forget about doing it, and focus on things going

on around him.

A noob at football would spend so much time worrying about keeping the ball at their feet

that they would not be able to concentrate on anything else, and in the early stages

of learning to draw, this is what I have experienced.

I was worrying about keeping the lines as singular, non scratchy marks, and trying to

spin all these other plates at the same time, like being fluid and rhythmic, yet also keeping

the lines tight, while also having strong anatomy, and perspective, and quite frankly,

something has to give.

You will not be able to do all of these things at once as a beginner while drawing.

It takes a while to really internalize a quality, but then you can add it to the session without

having to worry about it consciously.

As a result, I can now draw anatomy while being really conscious of, say the XYZ aspect

of what I am doing, and when an opportunity to indicate overlap appears, I see it, like

an opening in a football or boxing match.

Instead of having to dedicate an entire session to a single quality, I can work multiple at

once, and I feel this is something you see the far more experienced artists that you

admire doing when they draw.

Everything is in there as a reflex, just doing its thing.

The perspective is correct, the anatomy is well understood, and so they can draw fluidly

and rhythmically and create really wonderful pieces of art.

I obviously still have a long way to go, but I have gained an appreciation of how this

idea of spinning multiple plates will become easier over time, and I look forward to seeing

how that idea progresses with my experience.

Hopefully you can see that I have improved at least a little over these first 100 hours,

and even if the work does not show it that much, mentally my understanding is way, way

further along than it was back in December when I started this.

N00b Gains: I’ll produce a video at some point covering

this point in more detail, but these are so called ‘noob gains’.

When starting a new skill or learning undertaking, you make the most progress in the earliest

phase.

As I get more into this, I will have to work harder to break new ground, and avoid plateauing,

but I will be in this noob phase for a while, enjoying big leaps in knowledge and understanding.

I hope the main thing you take away from this video is the self-awareness I have when I

am drawing.

I notice how my body and ability and focus changes over time, and I document it.

That’s what meta-learning is all about - learning how you personally learn, so you can create

experiments, and explore what works, and what doesn’t.

The other thing to note is that I am not working on specific techniques, but focusing on more

abstract, generic principles and qualities.

I don't really care much about the head anatomy right now, but rather, can I draw a box in

perspective well?

I have to walk before I can run, and you are far better off training these broad, generic

qualities, so they can be applied to all your future art.

Do your foundational work, then get more specific.

Thanks for watching, hopefully there was something useful for you in there.

I’ll be back soon with my video on art books, so hopefully see you then!