シャドーイング練習: Learn to Draw FASTER Than Others (SECRET Chinese Method) - 動画で英語スピーキングを学ぶ
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105 文
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The truth is, most of the time we spend practicing drawing is hurting us more than it’s helping us.
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For the past few months, I’ve been studying anatomy every day, forcing myself to stay consistent.
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Until it led me back to the same uncomfortable question.
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Why does it still feel like nothing has actually changed?
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And no matter how much time you spend… you’re still starting all over again.
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So if this doesn’t work...
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how are you supposed to learn drawing at all?
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That's why I spent months on Bilibili, studying how Chinese artists actually learn.
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And what I found is something extremely simple, but crucial, that most artists don't even realize they’re missing.
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Stay with me until the end, and you’ll learn the secret skill Chinese artists use that turns your practice into real progress.
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Most of the time, a “good study” just means doing lots of detailed copies.
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But if that’s true… why does all that effort feel pointless?
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If all you do is just copy everything you see, this doesn’t create real progress.
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That mindless copying is exactly what makes every new drawing painfully slow and frustrating.
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So if this doesn’t build a skill… what actually does?
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On Bilibili I learned that Chinese artists taught drawing through 抓型 (zhuā xíng) or shape capturing.
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It’s the ability to filter what you see, so instead of just copying, you’re forced to make it your own.
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Look at these two.
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Which one looks better?
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Obviously this one.
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On this study I spent a whole day, forced myself to get a perfect copy… and I get it… but it looks like tracing.
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But here, I spent just ten minutes… testing completely different options.
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So what does zhuā xíng actually look like?
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If you look at artists like Ask, they build everything from very simple shapes, yet it looks complex and alive.
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But when you draw studies, you just can’t resist copying every tiny change in the silhouette… every wiggly line.
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And honestly… that could work.
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If those shapes were even possible to remember.
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But it doesn’t.
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Like... with anatomy here.
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If all you do, like me, is try to learn fully detailed, realistic anatomy from the start… you’ll never stop relying on references.
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Change the pose… and you’re stuck again, searching for another reference.
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And that creates a gap between what you want to draw… and what you actually can.
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So the real question is… why are you even trying to learn it this way?
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If you reduce all the useless visual noise to a few simple lines… you can actually draw it without looking back at the reference.
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That’s exactly what 切形 (qiē xíng) or shape cutting is.
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So how do Chinese artists train this skill?
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If you don’t really understand what you’re drawing… how are you supposed to simplify it?
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Especially if you don’t even know the rules.
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So the easiest way to start is to find these shapes directly over your reference...
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and only then try to repeat them on your own.
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That’s what I do inside Milanote, where I keep my references and notes… which makes the whole study process and tracking progress faster and more painless.
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So here’s the rule.
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For each big shape, you only use five to seven straight lines.
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If you use less, the shape becomes too primitive and loses character.
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If you need more, it’s already too complex to control or remember.
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And this is exactly what most artists miss about observation.
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But how does this actually help you?
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Look at this.
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How are you supposed to draw a bent leg like this?
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Relying only on references you train yourself to make the same decisions over and over again.
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Instead of thinking in shapes as something you can move and change.
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Look at how it works in zhuā xíng.
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I take those same pieces and slightly transform and overlap them… and now the leg is bent.
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You didn’t add anything new.
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And this works for everything you study.
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Because when you practice like this, you’re not just memorizing shapes.
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You’re learning how these shapes relate to each other.
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Until you try to draw it.
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Even if you repeat these shapes perfectly, it doesn’t mean the drawing will look right.
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Because shape cutting only gives you structure… but without proportions, every attempt will be inconsistent.
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So how do Chinese artists control it?
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Instead of starting from a blank canvas, you match the aspect ratio of the reference first and divide the space with simple cross-lines.
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Look at this.
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Now every part has a fixed position and you can finally see how much space each part takes, and more importantly, control every direction and line length while drawing.
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his 形准, Xíng zhǔn or shape accuracy is the main reason why so many artists still struggle when studying.
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Now you know how to build this skill fast… and actually make it work.
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But what happens next?
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On the third part of zhuā xíng, you can finally finish it...
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And this is where your old habits ruin everything you just created.
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If you go back to copying like before… yeah, with shape capturing you’ll copy it faster and more precisely.
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But if it was useless before, why should it start working now?
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So Chinese artists learn to add details through 过滤器 guòlǜqì or a visual filter… but unlike shape cutting the limit expands, so now you have two more types of lines to work with.
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And those three lines are what actually save you from starting mindless copying again… while still capturing all the details you need.
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Because if you look at realistic art even where you’d expect a perfect anatomical silhouette shapes are simplified.
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And that's how artists like Ask keep consistency across their illustrations.
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At this point, shape capturing looks like a complete skill but all these steps only help you practice.
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So what are you actually supposed to do?
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Many artists get stuck studying perfect shapes in isolation but none of it actually works until you make it fit the style you want.
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That’s what you’ll find inside the Free Adapt Kit, a simple guide to break down any style step by step.
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If you want to get better at learning, grab it for free in the description.
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So how do you actually apply zhuā xíng in your own art?
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When you start drawing, there’s this strong feeling to challenge yourself and draw everything from imagination.
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But instead of ignoring references, the real secret is treating them like Lego blocks, where you take different parts and combine their simple shapes into something completely new.
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So the first thing I do is build my reference board using Milanote web clipper, which makes it easy to collect everything without interrupting the process.
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I like that every image keeps its original source, so when I need something similar, I can easily find it.
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And finally, Milanote is available for free with no time-limit so sign up for a free Milanote account using the link in the description.
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But the real problem starts when you actually try to use more than one reference.
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So how do you combine them?
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The character I picked has two main parts in the design.
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The clothes, which easily fit the pose… and the wings.
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They're my favorite part… But are they actually that hard to draw?
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Without shape capturing, the first instinct would be to start copying the feathers...
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how they bend, overlap each other… searching through different bird wing references.
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Instead, break this into two separate parts that you can build and layer together.
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But if you try to use a basic coordinate system here… it gets... a bit overwhelming.
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So I went back to Bilibili… and what I found was a more advanced Xíng zhǔn that actually makes this usable.
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The main difference is that instead of drawing lines across the whole canvas, you place them only on the object you’re building and where they simplify measurement.
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So now you can precisely combine parts from different references at any scale or angle… because you’re only measuring what matters.
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But if even this method still feels clunky and uncomfortable… that’s exactly how it should feel.
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You didn’t really think the most important thing Chinese artists learn is just a grid with simplified shapes, right?
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The real goal of zhuā xíng is to train yourself to process every stroke in your head before you draw it.
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As soon as this skill runs in the background, you’ll finally be able to draw from imagination.
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But to get there, you still have to go through every step of the process first.
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Even though shape capturing takes time to build, but you can already use stylization techniques that make things much easier.
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I break them down in the next video.
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このレッスンの語彙とスピーキングのポイント
このB2レベルのスピーキングレッスンは、動画「Learn to Draw FASTER Than Others」を教材にしています。 繰り返し出てくる語は次のとおりです：shape, artists, reference, drawing, draw。 この動画には、シャドーイング用の文が105文、単語が1477語あります。 音声の長さは8:10です。 話す速さは速く、1分あたり約181語です。音のつながりや弱く発音される音が多くなります。 単語の85%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。 全105文のうち19文が疑問文なので、疑問文のイントネーションや短い受け答えの練習に向いています。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| simplify 動詞 | /ˈsɪmplɪfaɪ/ | 単純化 |
| anatomy 名詞 | /əˈnætəmi/ | 解剖学, 解剖 |
| combine 動詞 | /kəmˈbaɪn/ | 合わせる, 結び付ける |
| bend 動詞 | /bɛnd/ | 曲げる |
| silhouette 名詞 | /ˌsɪluˈɛt/ | シルエット |
| canvas 名詞 | /ˈkæn.vəs/ | 帆布, キャンバス |
| realistic 形容詞 | /ˌɹɪəˈlɪs.tɪk/ | 現実的 |
| uncomfortable 形容詞 | /ʌnˈkʌm.fɚ.tə.bl̩/ | 心地よくない |
| clipper 名詞 | /ˈklɪp.ɚ/ | クリッパー |
| memorize 動詞 | /ˈmɛm.əˌɹaɪ̯z/ | 記憶する, 覚える |
| overwhelm 動詞 | /ˌoʊ.vɚˈwɛlm/ | 圧倒する |
| painless 形容詞 | 無痛 | |
| interrupt 動詞 | /ˌɪntəˈɹʌpt/ | 中断する, 邪魔する |
| feather 名詞 | /ˈfɛðə/ | 羽 |
| instinct 名詞 | /ˈɪn.stɪŋkt/ | 本能 |
繰り返し練習したい文
動画に出てくる短く完結した文です。日常会話でそのまま使えます。
- Especially if you don’t even know the rules.
- How are you supposed to draw a bent leg like this?
- You didn’t add anything new.
- You’re learning how these shapes relate to each other.
注意したい発音
話し手はyou're, doesn't, you'llなど、短縮形や弱形を28回使っています。聞こえたとおりの短い形で発音しましょう。
- 「th」の音: feather /ˈfɛðə/, cloth /klɒθ/
- 「sh」と「zh」の音: illustration /ˌɪləsˈtɹeɪ̯ʃən/, isolation /ˌaɪsəˈleɪʃən/, measurement /ˈmɛʒ.ə.mənt/, proportion /pɹəˈpɔɹʃən/, observation /ˌɑbzɚˈveɪʃn̩/
- 長い単語（アクセントの位置に注意）: anatomy /əˈnætəmi/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/, anatomical /æ.nəˈtɑ.mɪ.kəl/, inconsistent /ˌɪnkənˈsɪstənt/, coordinate /koʊˈɔɹ.dəˌneɪt/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: realistic /ˌɹɪəˈlɪs.tɪk/, precisely /pɹɪˈsaɪs.li/, illustration /ˌɪləsˈtɹeɪ̯ʃən/, importantly /ɪmˈpɔɹ.tənt.li/
- /v/ — /b/ にならないように、上の歯を下唇に当てる: overlap /ˌəʊvəˈlæp/, canvas /ˈkæn.vəs/, overwhelm /ˌoʊ.vɚˈwɛlm/, primitive /ˈpɹɪmɪtɪv/, divide /dɪˈvaɪd/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: simplify /ˈsɪmplɪfaɪ/, uncomfortable /ʌnˈkʌm.fɚ.tə.bl̩/, frustrate /ˈfɹʌsˌtɹeɪt/, painfully /ˈpeɪnfəli/, feather /ˈfɛðə/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。simplify, anatomy, combineなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。