I am now getting to the part I like most about painting, the part where the composition starts to emerge and I can see how it will turn out, how the eye will move through the composition.
Ultimately the eye should settle on the house, but along the way there should be a few paths to get there, either from the largest fence post, down to the left past the cows (a brief distraction), and arcing back around via the foreground foliage (not finished but to be revealed soon), middle distance bushes and boulders, and up to the house. Alternately one could follow the hillside down and across, or skip the right side altogether and just dwell on the right half. I am probably making more of this than it deserves. We will see when it’s done, but this is what I am hoping at least.
Finishing the foliage in the foreground will be the biggest remaining challenge. I don’t want it to be the lump it is, and I should have handled it differently from the start. That said, I used mostly liftable pigments in this painting, and for much of my palette, so this should be salvageable.
Thanks for following along with this one.
Corey Aber 
Wow, Corey, I’m glad I put down the brush to see what you just posted. Very nice idyllic landscape emerging, and yes, the composition is very pleasing. I can sense your delight in it. I’m just now getting into my Spring Break and painting is more enjoyable now that I am not looking for stolen moments. The days are fresh and full of gods.
Glad the composition is resonating. I am about to complicate the idyllic view with some really ragged barbed wire between the fence posts in keeping with my theme of the interplay between beauty and roughness in the landscape.
Enjoy. I love rendering barbed wire, fence mesh, etc. I love Andrew Wyeth’s touch when doing that.