I am learning with painting that you can always paint over something you don't like, and there is always a way to get around a problem. In this painting, I found many problems (like the drips) ended up as solutions later in the painting process. When I needed a muted color, I found a green that had accidentally been mixed with the cerulean blue and the viridian green to be a great color for the job.Layering my paints has also been really successful. To achieve a thick layer of paint, it takes more of some paints to get the vibrant saturation. With the watery yellows and the hues, I found that laying down a muted color or a white helped the color pop on top of it. Allowing the white to dry underneath really allows you to inject the color into the canvas. With layering, adding a wash on top of other colors is a really fun way of transition colors into one other. I used this during the sketching process, and it helped me lay done a consistent color palette when I deviated: I would just use a wash to reunify all the colors into the fall color scheme.I think I used to be really impatient and I would paint wet on wet, which would just mix the colors into a mud on the canvas. Premixing the color and applying to a dry surface gives a vibrancy that I haven't been able to achieve before. Acrylics are really good for this since they dry so fast.The canvas is hand stretched and the stretcher bars are hand cut and glued together. I used an acrylic white gesso for the base, layered thickly with a squeegee. Golden acrylics were used to paint most of the painting and I also used Zen brushes. 
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