Originally Posted by harryfisherman
Thank you for commenting. I actually appreciate nit picking. The small details in any painting are what adds up to a good painting or not.
Hi, Harry. Ah, permission to nit pick!
Seriously, there is a lot that is right in this. You have seen and painted this scene in a pleasing manner.
The composition is working well, although i agree with the poster who mentioned the small central pine tree. its placement gives it too much importance, and removing it would be something to consider.
My first impressions of where to nit pick (LOL) were in regard to the color and edge work.
First, the color. On my monitor, which might not be reading exactly how the painting does, the cyans seemed a bit too saturated. I think I would move the sky down in intensity and perhaps shift it toward cobalt rather than cerulean. I see the stand of trees as the primary center of interest. As such, I think I might want to intensify both the contrast (value) and the brighter leaf colors to lead the eye more. I'd like to see the colors there pop more. Also, in the right bottom corner, darkening the water reflections might frame the center of interest more strongly.
Mind you, I'm a value freak.
Second, the edges...
Bravo for softening them!! So many painters neglect that and they end up with cut out looking, two dimensional shapes. You avoided this.
However, If you look comparatively at the edges, you have left the very focused ones in places where the eye doesn't necessarily need to linger, like the mountain edge against the sky. I'd lose that one.
Also, on the other hand, your foreground is very undefined. Typically, the closer something is to the eye, the more we can find some texture or hint of detail. While you don't want to go crazy and overload this area with tiny little flowers or individual grasses, you can hint at movements and textures with directional brushwork that doesn't take away from the center of interest, but rather leads us to it.
I don't know if you know of Richard Schmid's work, but there is one of his paintings (It's brilliant) that shows you what I'm saying. I'm not suggesting you blast away with a 3 inch brush, but where the focus is is where the eye rests. Edges and details exist mostly in the center of interest, yet even though it is further back, he energizes the foreground with indistinct but powerful directional brushwork that leads the eye right up to the tree.
I did a fast and sloppy Photoshop dealie with your painting to show you kind of what I mean. Forgive the awful "sharpen" tool. It made an ugly mess, but it kind of threw some texture in there, so I used it.
Hope these remarks helped!