I like the vegetation and sky quite lot. The plants and trees are airy and the colors are integrated nicely. I also like the variety of marks, differentiating the kinds plants.
I also very much like how you brought some of the warms from the trees into the clouds. This is successful on two points -- the colors relate to other parts of the painting reinforcing the idea of what they call "golden hour" or "golden time" which essentially is when the sun is low or even just gone and there's a warmth to everything. Plus it gives more variety to the brushwork.
And that's one of the outstanding parts of this one -- the brushwork is more varied and interesting, your color choices are good and they seem to breathe the same atmosphere.
As to the water, I think you have the right idea, but unless it's very windy the water wouldn't be quite so choppy. Even so, your marks look like dry drawing marks sitting on the water a little like a hair net on one's hair. The character of the marks are different than the moist wet-into-wet feel of the rest of the painting and are drawing attention to that difference, apart from the feeling that this is a unified vision. It's almost like you have two paintings happening -- above and below the shore. One possible way to solve that is to do so with more color mixing and including more intermediate steps and not just jumping in values so abruptly, except for in special cases where that's appropriate. It isn't just the mechanical limits of the brushes because you have done some great brushwork in this one.
But having said that, above the water is remarkably well-painted and whatever you did there, if you can do it in future paintings it's a very powerful approach. I really applaud your growing sensitivity to color and where you used the brush more loosely as you've done.
Another huge breakthrough for you.
"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream
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Originally Posted by Drskmishra
