Landscape painting

My digi paintings are looking real nice!

FYI, this took nearly 3 weeks to figure out… and lemme tell you… I spent some major 1:1 time with all the friggin’ brushes. I took my time to see what worked and what didn’t. I also discovered I have this thing called patience, not a lot, but it totally exists! Haha.

And the pressure sensitivity….

LIKE WHY ARE YOU MAKING GIANT UGLY BLOBS OF COLOR WHEN I BARELY MADE CONTACT WITH THE TAB. I was doing something wrong for sure. But I am happy with the turnout, and now I want to try it on an actual canvas.

I will have to wait another day to pretend I am Bob Ross, I suppose…

Here’s three ways, or aspects, that I’ve found to be effective:

Find a flow

When making a conceptual artwork, it’s very important to guide the viewer’s eyes properly through the concept. This is true with landscape paintings, especially if there are story elements involved–such as a main character travelling, or inside of a town. It can be a skill to nail this down, and is gained through years of practice, but there are some ways to go about doing it simple and easy.

Guiding the eyes of the viewer requires you to decide what should be important in the painting. There shouldn’t be too many story elements, otherwise there is simply too much to look at and the eye can’t flow relaxed across the painting. Having a few key elements, placed out pleasingly (rule of thirds!), with a direction in the painting guiding the viewer, is really the key to it.

Less details

Because it will save you time and headache when figuring out what’s not really working in your painting; a lot of times, it can be that there are just too many details going on in the image. It would amaze you at how much it actually does to remove/simplify 80% of all the crap that’s around a lot of paintings. Decide on 2 or 3 important focal points in your painting, 2 or 3 interesting parts you would like to be the central subject or focus of the painting. Either they tell a story, or they just look outstanding.


Every single professional artist takes hers or his inspiration partly from their idols. I am a fan of Albert Bierstadt, so I take inspiration from his paintings; how he pushes mountains back in the distance, how the weather interplays with the scenery, contrasts with lights and shadows, and more.

Studies are a way for us to test ourselves, improve, and learn from the very best. You must undoubtedly have works of art from artists that you think highly of–make studies of their work. Paint their exact paintings yourself! You will learn so much from doing this, and your paintings will be a lot better the more you understand how. I learned how to make a ground color, build up the color palette, and MUCH more. This is an invaluable way to become a better artist.