I think this is one of the best things I've painted recently - too bad it's on a piece of paper!
This time I did a pretty straightforward process — sketched in the shapes with a thinned raw sienna, put in the major darks and shadows with a mix of permanent violet and yellow ochre, then painted willy-nilly as the spirit moved me. No, I'm kidding, then I painted pretty much background to foreground, but leaving the sky for last.
This might be a better approach for me than the Cape Cod underpainting, because I get so confused about value when I'm fussing with temperature.
- - - see the finished painting here.