From the Artist: I started painting earlier this year and this is one of my first pieces. Using the simple beauty of a leaf in autumn as inspiration for the colors and composition, my goal was a study exploring the oil medium's famous blending capabilities. But in the end I feel I created a work with enough interest to stand on its own. Although it's no masterpiece, my friends and family seem to enjoy it, and even I am still quite fond of the piece (We are often our worst critics.)
From the Painting Guide: It's very true that we're often our harshest critic. This is partly because we know what our intentions and aims were when we started a painting, and what we went through to get it where it is. Whereas other people judge it only by the final result.
Something that works well for me, when I'm not quite satisfied with a particular painting but am not sure if I'm going to solve the problem or worsen it if I continue, is to paint another version of it. Not an identical one, but a sibling. The second painting benefits from what I've learned painting the first and, if I do mess it up by pushing the idea further, I've still got the first.
Things to Consider When Looking at This Painting:
Hard and Soft Edges: To me, the hard edges in this painting divide the composition up into four distinct parts. This is quite a contrast to the softer, blended colors within these. I'm not sure I like the hard, dark edge that goes into the center of the painting; it tends to cut it in half. Hold up your hand or a sheet of paper to block off part of the the right-hand side of the painting, then part of the lower side, and see how the change in composition changes the balance.
From the Painting Guide: It's very true that we're often our harshest critic. This is partly because we know what our intentions and aims were when we started a painting, and what we went through to get it where it is. Whereas other people judge it only by the final result.
Something that works well for me, when I'm not quite satisfied with a particular painting but am not sure if I'm going to solve the problem or worsen it if I continue, is to paint another version of it. Not an identical one, but a sibling. The second painting benefits from what I've learned painting the first and, if I do mess it up by pushing the idea further, I've still got the first.
Things to Consider When Looking at This Painting:
Hard and Soft Edges: To me, the hard edges in this painting divide the composition up into four distinct parts. This is quite a contrast to the softer, blended colors within these. I'm not sure I like the hard, dark edge that goes into the center of the painting; it tends to cut it in half. Hold up your hand or a sheet of paper to block off part of the the right-hand side of the painting, then part of the lower side, and see how the change in composition changes the balance.