Update on the two paintings. I've put the composition in the critique section before continuing.
These are nice compositions. No critique about that.
But I guess for glazing your darks are propably too dark. Remember not to go too dark with a monochrome underpainting since every consecutive color layer will darken the area more and more. Also try to make edges not so sharp. Make them rather blurry. You'll then have more control over your edges while working on the upper layers.
Looking forward to see them finished - especially the first one which is eye candy with all it's floral details.
What's that thing behind the blossoms over her left shoulder? This doesn't look like a flower.
It's a caduceus. This is now meant to depict the Goddess Iris. (Don't google images or you'll get your eyes burnt). I'll try to remember about the darks - hard to when you're pushing it. I will soften the edges later, if a bit too late. Thanks for the constructive crit.
Lovely paintings! It's obvious you know your way around a brush. The only thing is I'd like to tweak cquinn's advice a bit. Sure values could use a little tweaking but I think the imeadiate concern in your work to take it to the next level is commiting to a focal point. I think you're really good at rendering and adding detail and it's alot of fun for you but doing it everywhere can make the painting a little overwhelming and hard to understand. There are lots of way of making strong focal point but I think maybe you should try being really lose with your paintings. Do a rough drawing to start and block in shapes with a dark burnt sienna and build your values from dark to light. If you isolate your tight rendering to the part where you want the viewer to look first it'd build more of an interactive storytelling presentation.