Angrymikko, we understand that you don't like the old concept art, but to us mortals its still such an amazing display of skill we are all in awe. Thank you for always being willing to share art tips that can help us, I tried a landscape a few days ago but it just doesn't feel right, might apply a few of these tips to it, and hopefully I can copy a 1/5 of your style because it always impresses me.
I have to specify that when I painted that jungle scene I had already been painting digitally and traditionally for years. The reason why I wanted to make this video is to highlight that some things you really can improve instantly just by knowing more. It’s not about how long you’ve been an artist or how hard you practice. I’m sure there are plenty of technically brilliant artists out there who just haven’t figured out this yet and it would improve their art as well. In art studies I think we undervalue the message art can have and that’s a skill that comes with practice. Too many beginners think their work needs to be at a certain level before they can switch on that level in their art. But without practice that level won’t be there. It’s not a latent skill, it’s one that is forged through work.
Even if I do character art and haven’t ventured into landscapes yet, there is something this video has taught me. When I get to the later stages of my artworks, after the sketch, the occasional lineart, and building values in greyscale, I find myself lost. The artwork is now in color, the shading and values are correct, but the piece is not finished. At this stage I’m always like “well, now what?”, and I think it happens because all the “mechanical” steps are done, and now I’m left with making decisions about mood and actually leaving my personal touch on the canvas. This video reminded me that making art is telling a story. Sometimes it’s obvious, sometimes it’s subtle, but there is always something being said, and I need to remember that more often when I’m making those decisions. Otherwise I’m just painting a background.
The same does apply to characters as well. Just think, for example, about the kinds of shoes you have. They express who you are, your values, or even what type of job or activities you’re interested in. In character design, this same template can be applied to every zipper, glove and haircut to direct attention. They tell the story of who that character is, what they have been through, and their hopes and dreams for the future. You can also try to illustrate the conflict between the character’s wants and needs if you have the story already mapped out.
I really appreciate the tip of "how would you give directions to get to your landscape?" Especially with living in a more rural area it instantly clicked for me. I've always been a fan of environmental storytelling and think the process is fascinating, so it was also nice to hear how much thought goes into your pieces. So thanks for giving us insight about that. Also: you're actually the artist that made me realize I don't see the world in outlines, but in volume and shape in the video you talked about that in. Since then it gave me the courage to try digital painting (I was only using a sketchbook and a mechanical pencil at the time). And that change made everything click for me! I'm finally working with my brain, and not against it. And it's showing in my pieces so far. So thanks a bunch for making these videos. Hope you're doing well!
Having taught concept art for so many years now, I know that is not just a mistake I made but it’s really common in all art students. Because landscapes are a collection of multiple subjects, it can be easy to lose the plot and start filling in areas like the canvas is an obstacle course. Staying on track makes every aspect of the painting easier because landscapes aren’t about painting rocks, trees and mountains but it’s about HOW you choose to present them. Knowing where to focus that attention helps figuring out the role of each element in the composition. Often it also helps to identify details that would be better to just leave out of the picture entirely. 🤷🏻♂️
I haven’t taken a break ever since I started, a big part of this channel are the art streams and I’ve done more of them recently than all of last year 🤷🏻♂️😅 Thank you for the kind words.
I always make a minimal sketch and then make the reference tiny (maybe 4-5cm by 7-8cm) and set it a meter away. Then simplify as much and possible and look for ways to “connect” the shapes. Cameras don’t see how we see and we have to pretty much ignore 95% of the info in a scene. And the contrast thing is spot on! Super constrasty images are not natural. But go nuts with saturation and contrast with heavily stylized scenes.
Having the reference far away is a great idea. With digital painting, I always recommend starting with muted colours, no matter what style you are working with. Having editing room for colour correction after the painting is done makes the whole editing process much more rewarding because there is much more creative freedom to give the whole painting that final push in the right direction.🐻
I don't know if I can become a landscape artist but I love how you describe the importanse of message in the paintings. I wish to achive the skill of creating meanings and showing them with my art too!
I love all your videos. I actually made a children’s book and you really inspired a lot of how I drew them (though I’m nowhere close to your skills) .. but if there was a video I’d love to actually see, is perhaps you draw different materials. For example distinguishing rock and tree, water and cloud . I think a lot of beginners like myself always get lost in what brushes to use , which is why we always ask ‘what brushes do you use’ . But maybe you have a way of helping us see how you do it ~ Sorry for the long comment. I’m just really a fan and consider you such a great teacher
“What brushes I use” is almost always the wrong question as 90% of all of my work is done with one brush. These two were done with Snow from Best of angrymikko and Big Paw from last membership download package. I didn’t use 2 brushes but one for each. The problem with single purpose brushes is that they slow down the process a lot. Having a brush that is flexible enough for multiple things is always a faster way to paint. When using the same brush it’s easier to learn the behaviour in your muscle memory instead of re-doing brush strokes over and over in hopes of getting what you want. With that control it’s much easier to paint all those different materials. Learning them should always be about how you paint not with what you are painting with. While I love my own tools you can reach these results with any brush even the default round one. By the way I just released my most comprehensive water tutorial I’ve ever made. You can see it here: ruclips.net/video/draG_ewHHRo/видео.htmlsi=aKizyti-xOo2IoEe
@@angrymikko thank you buddy, this was exactly what I needed to hear. Thanks again and you just earned a fan for life. I will definitely stay tuned in and am going to watch the next video right now. All the best Angrymikko
Thank you but it’s all relative to what the time investment can yield. It would be interesting to re-paint that piece and pick one of the elements as the focal point and build a real story around that.
Impressive video, angrymikko. Looking forward to seeing your next upload from you. I smashed the thumbs up button on your content. Keep up the fantastic work! Your insights on focusing elements in landscape paintings are incredibly helpful. How do you balance the need for detail with the necessity of keeping the viewer's attention on the focal point?
I need help figuring out how to tell those stories and give the emotional response I got from painting it. I painted my grandma’s cabin before and i want to go back to it now and tell the story.
Focusing on the elements you want to highlight is an excellent place to start, but when you start putting colour down, I also recommend thinking about the light hue, direction and weather. Those can be used to find the right tone that’s more universal and easier for others to understand if they don’t have that direct memory connection to the place you are painting.
The ones in Best Of Angrymikko are ones from membership that I have ended up using the most. Big Paw is a recent brush that was available in the previous membership download set. However it’s so good that I think it would be nice to add it to one of the existing sets, probably Best of would be a good place for it.
![You CAN Paint Realistic WATER [Full Tutorial]🌊](http://i.ytimg.com/vi/draG_ewHHRo/mqdefault.jpg)
![You CAN Paint Realistic WATER [Full Tutorial]🌊](/img/tr.png)
Angrymikko, we understand that you don't like the old concept art, but to us mortals its still such an amazing display of skill we are all in awe.
Thank you for always being willing to share art tips that can help us, I tried a landscape a few days ago but it just doesn't feel right, might apply a few of these tips to it, and hopefully I can copy a 1/5 of your style because it always impresses me.
I have to specify that when I painted that jungle scene I had already been painting digitally and traditionally for years. The reason why I wanted to make this video is to highlight that some things you really can improve instantly just by knowing more. It’s not about how long you’ve been an artist or how hard you practice. I’m sure there are plenty of technically brilliant artists out there who just haven’t figured out this yet and it would improve their art as well.
In art studies I think we undervalue the message art can have and that’s a skill that comes with practice. Too many beginners think their work needs to be at a certain level before they can switch on that level in their art. But without practice that level won’t be there. It’s not a latent skill, it’s one that is forged through work.
Even if I do character art and haven’t ventured into landscapes yet, there is something this video has taught me. When I get to the later stages of my artworks, after the sketch, the occasional lineart, and building values in greyscale, I find myself lost. The artwork is now in color, the shading and values are correct, but the piece is not finished. At this stage I’m always like “well, now what?”, and I think it happens because all the “mechanical” steps are done, and now I’m left with making decisions about mood and actually leaving my personal touch on the canvas. This video reminded me that making art is telling a story. Sometimes it’s obvious, sometimes it’s subtle, but there is always something being said, and I need to remember that more often when I’m making those decisions. Otherwise I’m just painting a background.
The same does apply to characters as well. Just think, for example, about the kinds of shoes you have. They express who you are, your values, or even what type of job or activities you’re interested in. In character design, this same template can be applied to every zipper, glove and haircut to direct attention. They tell the story of who that character is, what they have been through, and their hopes and dreams for the future. You can also try to illustrate the conflict between the character’s wants and needs if you have the story already mapped out.
I really appreciate the tip of "how would you give directions to get to your landscape?" Especially with living in a more rural area it instantly clicked for me. I've always been a fan of environmental storytelling and think the process is fascinating, so it was also nice to hear how much thought goes into your pieces. So thanks for giving us insight about that.
Also: you're actually the artist that made me realize I don't see the world in outlines, but in volume and shape in the video you talked about that in. Since then it gave me the courage to try digital painting (I was only using a sketchbook and a mechanical pencil at the time). And that change made everything click for me! I'm finally working with my brain, and not against it. And it's showing in my pieces so far. So thanks a bunch for making these videos. Hope you're doing well!
Having taught concept art for so many years now, I know that is not just a mistake I made but it’s really common in all art students. Because landscapes are a collection of multiple subjects, it can be easy to lose the plot and start filling in areas like the canvas is an obstacle course.
Staying on track makes every aspect of the painting easier because landscapes aren’t about painting rocks, trees and mountains but it’s about HOW you choose to present them. Knowing where to focus that attention helps figuring out the role of each element in the composition. Often it also helps to identify details that would be better to just leave out of the picture entirely. 🤷🏻♂️
Amazing tips as always! I love the camping alone illustration ❤️❤️
You are by far my favorite artist, and I'm so glad you are back doing content. Very inspiring. Keep it up. Much thanks.
I haven’t taken a break ever since I started, a big part of this channel are the art streams and I’ve done more of them recently than all of last year 🤷🏻♂️😅
Thank you for the kind words.
I always make a minimal sketch and then make the reference tiny (maybe 4-5cm by 7-8cm) and set it a meter away. Then simplify as much and possible and look for ways to “connect” the shapes. Cameras don’t see how we see and we have to pretty much ignore 95% of the info in a scene.
And the contrast thing is spot
on! Super constrasty images are not natural. But go nuts with saturation and contrast with heavily stylized scenes.
Having the reference far away is a great idea. With digital painting, I always recommend starting with muted colours, no matter what style you are working with. Having editing room for colour correction after the painting is done makes the whole editing process much more rewarding because there is much more creative freedom to give the whole painting that final push in the right direction.🐻
Nice tutorial! It will come handy when I hopefully become a beginner sometime down the road…
I don't know if I can become a landscape artist but I love how you describe the importanse of message in the paintings. I wish to achive the skill of creating meanings and showing them with my art too!
You deserve so much more audience Mikko you always have the good words to explain complicated things simply :)
I love all your videos. I actually made a children’s book and you really inspired a lot of how I drew them (though I’m nowhere close to your skills) ..
but if there was a video I’d love to actually see, is perhaps you draw different materials. For example distinguishing rock and tree, water and cloud . I think a lot of beginners like myself always get lost in what brushes to use , which is why we always ask ‘what brushes do you use’ . But maybe you have a way of helping us see how you do it ~
Sorry for the long comment. I’m just really a fan and consider you such a great teacher
“What brushes I use” is almost always the wrong question as 90% of all of my work is done with one brush. These two were done with Snow from Best of angrymikko and Big Paw from last membership download package.
I didn’t use 2 brushes but one for each. The problem with single purpose brushes is that they slow down the process a lot.
Having a brush that is flexible enough for multiple things is always a faster way to paint. When using the same brush it’s easier to learn the behaviour in your muscle memory instead of re-doing brush strokes over and over in hopes of getting what you want.
With that control it’s much easier to paint all those different materials. Learning them should always be about how you paint not with what you are painting with.
While I love my own tools you can reach these results with any brush even the default round one.
By the way I just released my most comprehensive water tutorial I’ve ever made. You can see it here:
ruclips.net/video/draG_ewHHRo/видео.htmlsi=aKizyti-xOo2IoEe
@@angrymikko thank you buddy, this was exactly what I needed to hear.
Thanks again and you just earned a fan for life.
I will definitely stay tuned in and am going to watch the next video right now.
All the best Angrymikko
Мені подобається! Красивий пейзаж! Вподобайка! ❤❤❤
But the first painting looks amazing to me 😭
Thank you but it’s all relative to what the time investment can yield. It would be interesting to re-paint that piece and pick one of the elements as the focal point and build a real story around that.
@angrymikko yeah I think so too
Impressive video, angrymikko. Looking forward to seeing your next upload from you. I smashed the thumbs up button on your content. Keep up the fantastic work! Your insights on focusing elements in landscape paintings are incredibly helpful. How do you balance the need for detail with the necessity of keeping the viewer's attention on the focal point?
The naughty shrub!! 😂😂❤
I need help figuring out how to tell those stories and give the emotional response I got from painting it.
I painted my grandma’s cabin before and i want to go back to it now and tell the story.
Focusing on the elements you want to highlight is an excellent place to start, but when you start putting colour down, I also recommend thinking about the light hue, direction and weather. Those can be used to find the right tone that’s more universal and easier for others to understand if they don’t have that direct memory connection to the place you are painting.
That’s very true. Thanks Mikko!
Is "Big Paw" from a set you do not sell yet? I ask because I got all of your sets, but I do not have one named "Big Paw" :(
The ones in Best Of Angrymikko are ones from membership that I have ended up using the most. Big Paw is a recent brush that was available in the previous membership download set. However it’s so good that I think it would be nice to add it to one of the existing sets, probably Best of would be a good place for it.
do you use a screenprotector?
No
wow
The background is a part of a landscape painting.
You think your old Art is Bad ? Wehen i Look at my artworks , then I get frustrated