Drawing and painting get good the messy way, not the magical way, so let’s actually make a lot of work.
You don’t. Good supplies feel nicer and can remove some friction, but they don’t create skill. Plenty of working illustrators still rough out ideas with printer paper and cheap ballpoints because it’s fast and they’re not scared to waste it. What matters more is that your tools do what you ask: a pencil that can stay sharp, paper that doesn’t disintegrate, paints that at least sort of match the color on the tube. Start with the best you can comfortably afford, get to know those tools deeply, and only upgrade when you can clearly say what your current setup stops you from doing.
It usually takes less time than your brain thinks, but more drawings than you hope. For many people, a few focused months of regular practice—say 20–40 minutes most days—will make a huge difference in proportion, confidence, and shading. The trick is to stop measuring by single drawings and start measuring by batches: every 50–100 pages of sketchbook, look back and compare. You’ll still make awkward pieces forever (everyone does), but the average quality climbs steadily if you keep showing up with specific things you’re trying to improve.
They all work, but they do different jobs. Random tutorials and shorts are great for getting unstuck on a single problem, but they can keep you hopping around without depth. Structured courses or books give you a path, which helps when you’re overwhelmed, but they only pay off if you actually do the exercises, not just watch. Drawing on your own—especially from life and with small personal projects—is where the information turns into skill. The sweet spot for most people is a mix: pick one main structured resource to follow, supplement with specific videos when you hit a wall, and keep a regular ‘just me and my sketchbook’ time where you apply what you’ve learned.