This painting is flawed. Well, they're all flawed, arguably, but in this case, the perspective on the tiles inched out of true. Things like that are so impossible to fix--you have to redraw the whole grid, and then repaint, and even then I usually can't get it quite right--that I cannot bring myself do it. It is not important enough, in and of itself, to kill myself over. (Alternately, I could simply repaint the ground as ground, and take out the offending lines, but for some reason, the notion galls me.) No art is ever finished, but only abandoned, they say, and this one hit the abandonment point, I fear.
The important thing, anyway, is the tree on the right. That was the bit that I did most of the way through, and loved. (I obviously didn't make it clear that this was a digital piece, on the prior post--no tearing or photography needed!) I spent a couple of hours altering the rest of the "trees" to match it a little closer, and that more or less ended my patience with the painting. I am in love with the metal trees, though. I have to paint more metal trees, a scene inside the forest, say. So while I'm a bit frustrated at the painting's failure in that bit, I am sufficiently pleased at the existence of the visual idea that I figure I came out ahead in the long run.
Also, I realize, the older I get, the more I work big and loose. Much of this is pure scrawl. It's just scrawl at 600 dpi. All those years of carefully chiselling out detail, and in the end, I feel happier with multitudes of teeny scribbles, and it looks almost indistinguishable (and in some cases better.) Go figure.