That is the time for the entire warmup routine per session. It's a recommendation - you can adjust it as you see fit.
If I am to ask you another question:
I feel like I have a bigger issue with the extent of goals that I give myself.
I've recently dedicated a sketchbook to drawing just for the sake of it for the first time in years, following the 50% rule.
The problem is that I find myself not being concerned by the quality of the things that I draw as much as the amount of detail that I draw in one page.
I suspect that while you've spent about an hour to your sketchbook every night, I ended up with spending several hours on filling only one page. As you've seen by my dissections exercices, I can get very meticulous.
I suppose what occurs to me is that any behaviour you feel you cannot control is a concern. If you get so obsessed with detail that you cannot move on from something until it's been completely covered, regardless of whether it is your overall goal to do so, then that's a problem. At the end of the day, we choose the actions we perform, and the extent to which we taken them, and that should be something within your conscious control.
Being hyper-detailed (or as you call it, "meticulous") isn't an issue in and of itself. But if the goal is to fill two pages, and you can't because you're pushing what you consider to be a "filled page" so much farther beyond the pale, and are unable to just move on, then that's something you do indeed need to work on.
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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