You’ve been working on a painting for over an hour.
You keep stepping back, squinting, staring at that one little section you just can’t figure out.
You love that part, it’s probably your favorite thing you’ve painted all day, but no matter what you try, the painting just… doesn’t feel finished.
And deep down, you know why.
That part you love? It’s actually what’s holding the whole thing back.
This is what artists call killing your darlings, and it’s one of the hardest (but most important) skills you can develop in abstract painting.
In this post, I’ll walk you through how to recognize when something needs to go, techniques for editing without losing everything, and why letting go of your favorite part can actually make your painting stronger.
Why Is It So Hard to Let Go?
We all get attached to certain marks, colors, or sections of our paintings, and that’s not a bad thing. Those moments of inspiration are what keep us going.
But sometimes, your favorite part and the rest of the painting feel like two different paintings. They don’t unify. They compete for attention. Your eye gets stuck instead of flowing around the composition.
That’s when you know it’s time to let go.
Signs It Might Be Time to Kill Your Darling
Here are a few clues that your favorite section isn’t actually serving the whole painting:
- You’ve been avoiding working on that area because you don’t want to mess it up.
- The rest of the painting feels unresolved or disconnected from that one spot.
- When you show the piece to others, they only comment on that part and seem to miss the rest.
- You find yourself making excuses or explaining why it “works” when you talk about your painting.
- The colors or style in that section are completely different from the rest of the piece.
If any of these sound familiar, it may be time to step back and make some hard decisions.
Techniques for Killing Your Darlings Without Losing Everything
Letting go doesn’t have to mean destroying everything you love. Here are some ways to edit more confidently:
- Take a photo of your painting. Use your phone’s markup tools to digitally paint over that section and see how it feels before you commit.
- Step back 10 feet. If that area jumps out in a distracting way from a distance, it probably needs to change.
- Ask yourself: “If this were someone else’s painting, what would I suggest?” Sometimes it’s easier to see clearly when you detach a little.
- Turn the painting upside down. This helps you see the composition more objectively. Paint over areas that feel off, even if they include your favorite marks.
- Use collage paper. Cut or tear colored paper and lay it over your favorite spot. Experiment with how it looks without that section before committing.
- Remind yourself: you can recreate it elsewhere. Whatever you loved about that section — the color, texture, energy — you can always bring it back later in a way that works better with the whole piece.
Letting Go Makes Your Painting Stronger
I know it feels risky. I’ve been there too, hovering over my favorite little corner of a painting, brush in hand, heart pounding.
But every time I’ve had the courage to paint over something that wasn’t working, the painting grew stronger.
When you prioritize the whole painting over one little darling, your work becomes more cohesive, more powerful, and more uniquely yours.
Final Thoughts
Learning how to kill your darlings is a skill that develops over time. Every time you step back and ask yourself what the painting needs, instead of what you’re attached to, you grow as an artist.
So next time you feel stuck, try some of these techniques. Be brave. And remember: you can always create something new.
If you’d like some extra guidance and a safe place to practice editing your work, you’re always welcome in my Abstraction Beyond Boundaries Challenge, which is happening from August 18 – 22, 2025.
It’s just $10 ($150 value) for 30 days of access to my lesson on how to paint an abstract landscape, Q&As, and our supportive Facebook group. We’d love to have you.
✨ Learn more and join us here. ✨
ABOUT ANDREA CERMANSKI
I am an artist out of Santa Fe, New Mexico who has been painting for almost 30 years. I love to teach first-timers as well as experienced painters who need a creative reboot. My work has been displayed in several galleries around the country, and I have a Bachelor’s in Art History, a Master’s in Art Education, and had my work in a show juried by Judy Chicago. The idea of getting more people painting makes me light up as I want to inspire more people to express their creative selves and tap into a place of joy and calm.
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