Okay, I'll try my hand at critiquing. Be prepared for a wall of text!
Keep in mind, I'm a self taught artist, so make of my integrity what you will. I'm only criticizing personal choices, this isn't a "how you should do it", more of a what I think about when I draw large pieces.
Okay! First off, the detailing and rendering is really
good. I didn't get that much of a chance to notice first time through, but piecing it apart let me see just how much time went into the background, especially. Good job on that.
What I meant when I said the trees looked crooked was that the horizon and the arc of the river made the ground look curved, and the curvey trees looked tangential to this, making the ground look like caving in on itself.
Another thing I'm seeing is a weird composition thing where you have 3 very strong horizontal(ish) lines, the horizon and two river lines, and a very long canvas. This would usually read a calm, relaxed piece. But you offset this by adding very strong vertical lines in the background that don't override the horizontal lines.
In addition, you have the trees in the midground and the fallen log contributing diagonals, making this piece read as both calm, daunting, and violent at the same time.
The composition kind of really false apart in greyscale. Your values give these random shapes that kind of lead the eye no where. The light rays are very good, they are a kind of catch-all attention that bring my eye to the character. From there, the character looks at the flower, leading us to look at the flower. Having a character looking at something is a very
strong cue and you pulled that off really, really well. But where this falls apart are afterwards. The tree in the corner is slanted, leading the eye up and escaping the canvas.
You want to trap the viewer's attention on your image, and your composition has too many "escape points", ie too many zones of low contrast that the eye wanders off the image. Your zones of low value, high contrast (the trees) seem to be scattered and random. I would give direction to all these if I were to redo it, so it would contribute to the composition.Redraw
Redrawing, I would start with a simple, low horizon point and lots of vertical lines.
Notice how I fade it out in the back, and how little detail I give this. I don't want the viewer to focus on it, I want it to be in the back of their mind dictating their mood.
The low horizon point means they're looking up, and the vertical lines make the image feel daunting and strong. Next, I decide on a composition. I want a light ray to open up and focus the viewer on the flower. I put the flower on an image third, and place the light ray from the top corner centered on it.
This light ray will be higher in value than the rest of the composition. This will focus the viewer on the flower, my focal point.
Next, I place the pony so her (?) head is in the light. I want the viewer to see her head, and where she's looking.
I add the log in a way that it contributes mainly a horizontal line, so it doesn't screw the composition up from a single vanishing point.
In the foreground, I add a rounded tree stump, to give a wedge shape that will trap the viewer's eye in the cone of light. I also add a path in the dirt, because I like those (lol). The eye likes to follow paths, so if the viewer is to leave the image, make them leave on your terms.
I bring down the values outside the cone, highlight the areas that are in light, and highlight the path.
This is my finished composition. Don't misread this, your image was very, very good, and I would be super proud if I drew it, these are just some things that I like to look out for. I hope this helped!